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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)
Date: Mon, 1 Dec 2003 00:52:07 -0500
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On Monday 01 December 2003 12:25 am, kat@grendal.rain.com wrote:
> > *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.

Right.  My point was whether it is legitmate to deduce, from the fact that a 
particular shade of blue was depicted on a person in an oil painting, that 
they had actually been wearing a blue garment of that shade.  Your answer 
suggests that the answer is a qualified "yes".


> > *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.

If you mean the color being worn by the woman in this picture:

http://polaris.umuc.edu/~jthies/Tanya.gif

That's not what I'm talking about here (I hate that particular dark-greenish 
teal, by the way, and the related brighter color that was so darn popular 
during the 1990s).

I mean the "teal blue" color that Michaela's "Anne of Cleves" dress is:

http://costumes.glittersweet.com/sca/cleves.htm

To me, the "Anne of Cleves" dress is not a teal at all, but more of a 
turquoise blue--but this discussion started out referring to it as teal blue, 
and I was trying to stay consistent.  :-)


> 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.

Yes, the color names during Elizabeth's reign were certainly intriguing!
(Though I note that the Anne of Cleves dress that Michaela reproduced likely 
have been made in the 1530s, since Anne was painted in it shortly before her 
marriage to Henry in 1540).  


-- 
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] Latest outfits, was wondering
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> 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;)

Two? Nah, three, four, five... :-)
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Subject: Re: [h-cost] blue pigments (was Latest outfits)
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Catherine Olanich Raymond <cathy@thyrsus.com> wrote:
> 
> If you mean the color being worn by the woman in this picture:
> 
> http://polaris.umuc.edu/~jthies/Tanya.gif
> 
> That's not what I'm talking about here (I hate that particular dark-greenish 
> teal, by the way, and the related brighter color that was so darn popular 
> during the 1990s).
> 
> I mean the "teal blue" color that Michaela's "Anne of Cleves" dress is:
> 
> http://costumes.glittersweet.com/sca/cleves.htm
> 
> To me, the "Anne of Cleves" dress is not a teal at all, but more of a 
> turquoise blue--but this discussion started out referring to it as teal blue, 
> and I was trying to stay consistent.  :-)

This might be a difference in monitors.  I don't see a great deal of difference
between the dress colors in those two photos.  The only place I see anything
resembling turquoise blue is the one shot on Michaela's page that's labeled
as FabricTest2.  In that shot, it looks to me like the flash has caught the 
sheen of the velvet and has overexposed the frame, making the color look
much lighter than it would otherwise.  All the other photos, including ones
that look like they were taken in natural light, are darker and have a more
greenish cast.
(real turquoise of decent quality is _not_ greenish)

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"

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Subject: Re: [h-cost] blue pigments (was Latest outfits)
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> 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.)

Very interesting... Do you happen to have any sources for this? I've also
got a bundle of essays on the wool trade from the lowlands to get through..
and some info on Nijmegen and how the trade peaked and declined.. so this
would be another wonderful read to add to that pile of reading. No pressure
btw;) I'll do a search on the net as well.. this may be getting a bit
obessive about it but hey;) So long as I'm enjoying it and not frazzling
myself needlessly;)

Would logwood then be particularly acidic or is it another chemical
interaction that causes it to be destructive?

It sounds like a set of issues that would be neat to add to the
documentation.. like... "this dress probably would have lasted only one year
and then would have fallen to pieces. So the woman who would have ordered it
would have been a very wealthy woman to waste so much money.";)

Where has my book on dying wool got too.. modern carft book, but it would
make hunting down recipies fun by searching for the ingredients...

Oh and I'm working on getting the Anna Meyer a shade or two lighter;)

Stale urine has already been mentioned btw;)

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] blue pigments (was Latest outfits)
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> This might be a difference in monitors.  I don't see a great deal of
difference
> between the dress colors in those two photos.  The only place I see
anything
> resembling turquoise blue is the one shot on Michaela's page that's
labeled
> as FabricTest2.  In that shot, it looks to me like the flash has caught
the
> sheen of the velvet and has overexposed the frame, making the color look
> much lighter than it would otherwise.  All the other photos, including
ones
> that look like they were taken in natural light, are darker and have a
more
> greenish cast.

To be honest.. it's mostly right between the two shades... I have yet to get
a photo of it that really shows the real colour.. which is not terribly
chemically in colour if you get my meaning... It's not a pure jewel tone,
but it's not areally dusty (which a lot of people seem to think of as what
natural dyes are- not impuning anyone.. just the trend I've come across all
over the place;) )

It's not green, it's not blue.. though perhaps slightly more in the blue
tones.

Blues are a pain to convert to CMYK for printing.. I know many of my scans
for a magazine had to be played with a lot.. hmm.. maybe the dress is a bit
more in the cyan range... no that's too clear... I'm not sure if I need to
adjust my camera settings.. I might have them in CMYK not RGB...

And of course actual light levels affects the colour greatly, not just on
camera either.

It looks nice with wood... unlike the blues and pinks of some plastic items
I have sitting next to the pouch hanging on the same bit of wood.

I had misgivings about the colour at first too;) But I thought hang it.. get
the fabric document it later;) Pleased I did;)

Oh the sleeves are lined in a shot fabric that is at least part silk. I need
to do a good few test to work out just how much though... another oh thank
heavens find in my storage box;)

michaela
http://costumes.glittersweet.com


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I have my bodies, drafted my bodice and working hard on my spanish farthingale. Heres my weird question of the day :-)
How are the sleeves of a tudor gown attatched Oversleeves? Undersleeves? It's so hard for me to tell from photographs of portraits. Thank you, Angelique


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From h-costume-bounces@indra.com  Mon Dec  1 09:24:41 2003
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Date: Mon, 1 Dec 2003 08:20:37 -0600
Subject: Re: [h-cost] early tudor undersleeves question
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I'm not entirely sure about the undersleeves, but I'm pretty sure that
the oversleeves were sewn directly into the armscye of the overdress.
That's for the classic English Tudor look, for other places (such as
Italy) there may be other standards that apply. 

Karen

On Mon, 1 Dec 2003 06:12:16 -0800 (PST) me <ivycircle@yahoo.com> writes:
> I have my bodies, drafted my bodice and working hard on my spanish 
> farthingale. Heres my weird question of the day :-)
> How are the sleeves of a tudor gown attatched Oversleeves? 
> Undersleeves? It's so hard for me to tell from photographs of 
> portraits. Thank you, Angelique
> 
> 
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From h-costume-bounces@indra.com  Mon Dec  1 09:27:27 2003
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 The only women I saw in the movie were apparently
some Brasilian courtesans. Their dresses did not look
very 18th century to my uneducated eye. How far off
were they?

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	wondering
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Ingrid translated:

>Trefoil brooch:
>To keep the coat closed in front, a so-called trefoil brooch such as 
>this, or other variations such as the large round ones or "likarmade" 
>(no idea of the English word; pictures can be found here: 
>http://www.historiska.se/histvarld/artikel.asp?id=10731) was used in 
>Mälardalen (a place). Vikings from Gotland once again stick out with 
>their "dosformiga" (ditto with the translation problem; picture here: 
>http://www.historiska.se/histvarld/artikel.asp?id=10226), which 
>indicates that the cultural identity was different from that on the 
>mainland.

I've checked my Swedish-English dictionary (I learned Swedish for a year at university) and would suggest "Box-shaped" for "dosformiga". "Likarmade" presumably means something like "having similar arms"? Looking at the pictures, I can't think of a simple way to describe them in English, only the rather high-sounding  "bilaterally symmetrical"!

I'd also suggest "beads" rather than "pearls" for "p"arlor", for items not actually made of pearl.


 



Kate Bunting
Library, University of Derby


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From h-costume-bounces@indra.com  Mon Dec  1 09:30:20 2003
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Date: Mon, 1 Dec 2003 07:28:10 -0700
From: Elizabeth Lear <eliz@indra.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT: Muppet fabric
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Thanks for the ideas, and I hope people might keep an eye out for
Muppet fabric and let me know if any shows up in your area or online.
I've tried online searches and local stores, but I'm not finding
anything.  It's frustrating, since my sister-in-law was wearing her
really cool Kermit print lounge pants this weekend, and I remembered
she bought them online last year.  The site doesn't have them anymore
(they've moved on to "Hello Kitty"), and I can't find fabric to make
my own.  Bah!

						...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 h-costume-bounces@indra.com  Mon Dec  1 09:30:46 2003
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Subject: [h-cost] Burgundian/ Fabrics/ Colours
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  My next project will probably be a foray into a type
of Burgundian. I'm hoping some of you can get me to a
starting place on fabric types and colours. What are
your favorite online illustrations?

=====
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From h-costume-bounces@indra.com  Mon Dec  1 09:35:43 2003
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Subject: Re: [h-cost] early tudor undersleeves question
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I have achieved the most accurate look by sewing the
oversleeves to the bodice and using ties to attach the
undersleeves at the elbow. They would actually tie
around your arm above the elbow rather than attach to
the dress or oversleeves. I don't know how
documentable this construction is, but the effect
resenbles the paintings.



 --- me <ivycircle@yahoo.com> wrote: > I have my
bodies, drafted my bodice and working hard
> on my spanish farthingale. Heres my weird question
> of the day :-)
> How are the sleeves of a tudor gown attatched
> Oversleeves? Undersleeves? It's so hard for me to
> tell from photographs of portraits. Thank you,
> Angelique
> 
> 
>

=====
Aurum peccamenes multifariam texit

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Subject: Re: [h-cost] blue pigments (was Latest outfits)
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> > 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 

> *Were the same rare pigments used on minatures also used in early oil 
> paintings?
> 
there's a good account of the differences between minitaurists and 
portraitists' use of pigments, and the way the resulting work was valued, in a 
chapter of Renaissance Clothing and the materials of memory, by Jones and 
Stallybrass, Cambridge University Press, 2000.
> 
> 
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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Hand Sewing thread. 
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Hi folks,

	Sorry to be chiming in on this so late.  I have bought most of my hand 
sewing linen thread from LACIS.
	They do have a web site.  In general I use a 80/2 for hand sewing.

	Bridgette

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From h-costume-bounces@indra.com  Mon Dec  1 09:47:11 2003
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Subject: Re: [h-cost] Burgundian/ Fabrics/ Colours
Date: Mon, 1 Dec 2003 09:46:20 -0500
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There are some lovely burgundian images on this site(total of 3 pages):

http://www.antir.com/meghan/images.html

----- Original Message ----- 
From: "Catalina Sanabria Rosado" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 01, 2003 9:28 AM
Subject: [h-cost] Burgundian/ Fabrics/ Colours


>   My next project will probably be a foray into a type
> of Burgundian. I'm hoping some of you can get me to a
> starting place on fabric types and colours. What are
> your favorite online illustrations?
> 
> =====
> Aurum peccamenes multifariam texit
> 
> ________________________________________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: Viking dress from historiska.se, was Re: [h-cost] wondering
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On Mon, 1 Dec 2003, Kate M Bunting wrote:
> I've checked my Swedish-English dictionary (I learned Swedish for a
> year at university) and would suggest "Box-shaped" for "dosformiga".
> "Likarmade" presumably means something like "having similar arms"?
> Looking at the pictures, I can't think of a simple way to describe
> them in English, only the rather high-sounding "bilaterally
> symmetrical"!

I thought about box-shaped, but wasn't sure if that made sense for the 
shape. Thanks for clearing that up! "likarmade" definitely means 
"having similar arms"; I guess I was looking for one word and came up 
short. :)

> I'd also suggest "beads" rather than "pearls" for "p"arlor", for items
> not actually made of pearl.

Oops, did I write pearls? I meant beads of course; you're 
absolutely right. :)

Ingrid 

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Subject: [h-cost] Dickens /Christmas/ Costuming
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 I've never been entirely sure what time period
Dickens covered.

=====
Aurum peccamenes multifariam texit

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From h-costume-bounces@indra.com  Mon Dec  1 10:14:38 2003
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 I don't know about the rest of the world, but I don't
have as much time during November and December for
research as I would like to have.:)  Who does really? 
I just finished a 14th century outfit for my husband,
15 pounds of brandied fruit, starting 2 pints of a
citrus-spice cordial, managing a family four-day
holiday, preparing for 2 December birthdays and I
still haven't finished my 16th century gown for
Twelfth Night. Maybe by the end of December we'll see
more activity on planning new projects.

=====
Aurum peccamenes multifariam texit

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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] early tudor undersleeves question
Date: Mon, 01 Dec 2003 15:17:45 +0000
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Hi Angelique,

I got a great looking sleeve when I put the seam for the upper arm of the 
outer sleeve on the outer side of my upper arm and put the seam of the lower 
arm (the part that bells out) on the bottom of my arm starting the. When I 
made my initial pattern like a giant modern sleeve all in once piece, the 
bell part did not hang correctly.

Sarafina

--
The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net
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From: Gail & Scott Finke <gailscott@eos.net>
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Thanks to the person who first posted this, and thanks to Ingrid for
translating! This is not my period to research but I think the museum did a
wonderful job with this site. While the text may not be as detailed as we'd
like, I think the museum did far better than most descriptions of historic
costume, for instance by saying that scholars disagree about how the apron
dress was constructed, and by discussing the "pleated" smock and whether or
not it was ever worn by live people. For most visitors, this will be plenty
of information.

My 9-year-old daughter is doing a report on Vikings for school, and I showed
her the men's and woman's clothing part from the web site yesterday. She was
thrilled. This is her first research project, and the class doesn't have to
do bibliographies with it, they just have to look up various subjects
(Viking dress, Viking houses, what "viking" means, etc.) and present what
they learned. Next we are going to look at the 3-D buildings on the site.

Gail Finke

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>>> ladyforbeys@yahoo.com 12/1/03 2:49:06 PM >>> wrote

> I've never been entirely sure what time period
>Dickens covered.

Well, he was writing from the 1830s to his death in 1870, but some of
his novels imply a setting a few decades earlier than the time of
writing (not counting the 2 historical ones).


Kate Bunting
Library, University of Derby
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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
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I'm working on a blue velvet tudor for 12th night and my husband wants new 
pants also. I sewn all the jewels down along the front of the neckline. I'll 
keep a photo diary and show the evolution of the gown.

Can anyone tell me if they had faceted gems/glass cabochons in the 16th 
century? I know that they put pearls on their necklines, but I'm trying to 
determine if putting faceted jewels on a dress is a plausible 16th century 
decorative technique.

Sarafina

--
The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net


>  I don't know about the rest of the world, but I don't
> have as much time during November and December for
> research as I would like to have.:)  Who does really? 
> I just finished a 14th century outfit for my husband,
> 15 pounds of brandied fruit, starting 2 pints of a
> citrus-spice cordial, managing a family four-day
> holiday, preparing for 2 December birthdays and I
> still haven't finished my 16th century gown for
> Twelfth Night. Maybe by the end of December we'll see
> more activity on planning new projects.
> 
> =====
> Aurum peccamenes multifariam texit
> 
> ________________________________________________________________________
> Download Yahoo! Messenger now for a chance to win Live At Knebworth DVDs
> http://www.yahoo.co.uk/robbiewilliams
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> 
>   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? 
> 
No idea if any supporting underwear existed, but I've found in late 13th c 
dresses that if it's close fitting enough, everything stays where it's meant to 
(with occasional hoicks :), whether front or back opening. Well enough that I 
can happily go bra-less and forget about it. Having no shaping at the bust like 
darts or seaming means breasts are sort of bound in place. I don't know how 
this would work for women with a lot up top. If the gown you're looking at is 
losser, a cloth binging under it would serve a similar purpose, though the 
tension at the shoulders in a dress keeps all pointing skyward. Maybe cross-
binding, in the X shape seen on greek chitons.

> 
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In a message dated 12/1/2003 9:28:46 AM Eastern Standard Time, eliz@indra.com 
writes:
and I can't find fabric to make
my own.  Bah!
Some companies won't license their fabrics for retail sale at all, but will 
for ready-to-wear and home decorating.  I suspect that is the case here.

I know it can be difficult to use sheets or curtains, as many of them are in 
such large-scale designs.  But you might be able to get creative, if you can 
find them.  Try a place like Domestications (if they still exist!)

Ann Wass
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They did have some faceted jewels. The square table-top cut (most commonly
seen in emeralds, nowadays) is frequently seen. A pyramid cut is also
seen, most frequently on diamonds. The rose cut, which looks a bit more
modern (rather similar to the cut seen on some rhinestones) came into
fashion during the reign of James I, so for late Elizabethan it could
conceivably be used.

Check out Tudor and Elizabethan Jewelry by Diana Scarisbrick for lovely
closeups and descriptions of gems.

Drea

On Mon, 1 Dec 2003 ladysarafina@att.net wrote:

> I'm working on a blue velvet tudor for 12th night and my husband wants new
> pants also. I sewn all the jewels down along the front of the neckline. I'll
> keep a photo diary and show the evolution of the gown.
>
> Can anyone tell me if they had faceted gems/glass cabochons in the 16th
> century? I know that they put pearls on their necklines, but I'm trying to
> determine if putting faceted jewels on a dress is a plausible 16th century
> decorative technique.
>
> Sarafina
>
> --
> The Honourable Lady Sarafina Sinclair, CE, CW, APF
> http://ladysarafina.home.att.net
>
>
> >  I don't know about the rest of the world, but I don't
> > have as much time during November and December for
> > research as I would like to have.:)  Who does really?
> > I just finished a 14th century outfit for my husband,
> > 15 pounds of brandied fruit, starting 2 pints of a
> > citrus-spice cordial, managing a family four-day
> > holiday, preparing for 2 December birthdays and I
> > still haven't finished my 16th century gown for
> > Twelfth Night. Maybe by the end of December we'll see
> > more activity on planning new projects.
> >
> > =====
> > Aurum peccamenes multifariam texit
> >
> > ________________________________________________________________________
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> > http://www.yahoo.co.uk/robbiewilliams
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Subject: [h-cost] Pleated berhte 1845 dress
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AAAAAaaahhh!
Sorry, I just like to scream.
I am trieing to find out how to make a pleated berthe and I can't seem 
to understand how to make it right.
There are 4 pieces Two for the front and two for the back The back 
closes at the right schoulder...
But is every piece just one piece of fabric pleated or are they 
sepereate pleats sown on to a piece of fabric??
http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG

Greetings,
        Deredere


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Subject: Re: [h-cost] Dickens /Christmas/ Costuming
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In a message dated 12/1/2003 10:30:53 AM Eastern Standard Time, 
K.M.Bunting@derby.ac.uk writes:

> Well, he was writing from the 1830s to his death in 1870, but some of
> his novels imply a setting a few decades earlier than the time of
> writing (not counting the 2 historical ones).
> 
> 

Also, since you mention Christmas, "A Christmas Carol" came out 
in...oh...damn I forget...1843? 1845? Anyway, Scrooge's current period can be said to be 
early to mid 40s. He goes back to his youth of course [18-teens] and into the 
future and we also get an account of how he changes after the visitations so it 
can be argued the ghosts come to him in the late 1830s.
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From: "Joanna Hobbins" <jhobbi2@po-box.mcgill.ca>
To: "Historical Costume" <h-costume@indra.com>
References: <BBF0C638.C8B2%gailscott@eos.net>
Subject: Re: [h-cost] Re: viking costume
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Some parts of the website have been officially translated into english.

http://www.historiska.se/histvarld/eng/drakt.htm

I have no idea how to get to the english page from the main site
unfortunately, or even if other parts of the site are in english.

Joanna

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Subject: Re: [h-cost] Pleated berhte 1845 dress
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In a message dated 12/1/2003 11:21:46 AM Eastern Standard Time, 
triade@kabelfoon.nl writes:

> But is every piece just one piece of fabric pleated or are they 
> sepereate pleats sown on to a piece of fabric??
> 

They are usually one piece of bias pleated. But it is easier to do separate 
bias "pleats" and overlap them. [Both methods are tacked to a foundation 
piece.] I'm not sure if they did the bias strip thing or not in the period. 
Y'know...never say never....never say always....

The best way to do it with a single bias piece is drape it on a dummy.
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Eliz- 
Have you tried Ebay? There are actually a lot of 'hits' for Sesame Street inspired fabrics, but
unfortunately I didn't see any "Kermit" stuff. That doesn't mean that it won't show up tomorrow,
though. 

::Linda::


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

In a message dated 12/1/2003 9:28:46 AM Eastern Standard Time, eliz@indra.com 
writes:
...and I can't find fabric to make
my own.  Bah!

Some companies won't license their fabrics for retail sale at all, but will 
for ready-to-wear and home decorating.  I suspect that is the case here.



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They had some faceting. Simple 'square ' cuts have been around for gem stones for a long time. If you can get your hands on a copy of Jewelry--7000 Years--there are examples of what they call 'tablecut ' diamonds and rubies, also examples of 'pointed' cut stones(looking like a pyramid shape set in gold). Many cabochons were also mounted  with foil on the back to increase the sparkle and enhance color. Take a peek, also, at Tudor and Jacobean Jewelry--by Diana Scarisbrick---which also describes the different types of jewel cuts available by 1612---lozence, table, and triangle.There were also briolettes--drop shaped stones faceted all around. By the 1630's new , more brilliant cuts where developed to show off gemstones to best advantage. 
Albra

ladysarafina@att.net wrote:
I'm working on a blue velvet tudor for 12th night and my husband wants new 
pants also. I sewn all the jewels down along the front of the neckline. I'll 
keep a photo diary and show the evolution of the gown.

Can anyone tell me if they had faceted gems/glass cabochons in the 16th 
century? I know that they put pearls on their necklines, but I'm trying to 
determine if putting faceted jewels on a dress is a plausible 16th century 
decorative technique.

Sarafina

--
The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net


> I don't know about the rest of the world, but I don't
> have as much time during November and December for
> research as I would like to have.:) Who does really? 
> I just finished a 14th century outfit for my husband,
> 15 pounds of brandied fruit, starting 2 pints of a
> citrus-spice cordial, managing a family four-day
> holiday, preparing for 2 December birthdays and I
> still haven't finished my 16th century gown for
> Twelfth Night. Maybe by the end of December we'll see
> more activity on planning new projects.
> 
> =====
> Aurum peccamenes multifariam texit
> 
> ________________________________________________________________________
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> If you mean the color being worn by the woman in this picture:
> 
> http://polaris.umuc.edu/~jthies/Tanya.gif
> 
> That's not what I'm talking about here (I hate that particular
> dark-greenish teal, by the way, and the related brighter color that
> was so darn popular during the 1990s).
> 
> I mean the "teal blue" color that Michaela's "Anne of Cleves" dress
> is:
> 
> http://costumes.glittersweet.com/sca/cleves.htm
> 
> To me, the "Anne of Cleves" dress is not a teal at all, but more of a
> turquoise blue--but this discussion started out referring to it as
> teal blue, and I was trying to stay consistent.  :-)

Both of them can be made with using weld overdye of an indigo dyed 
fabric. The balance depends on the depth of the color used for each 
step and that was something that medieval and renaissance dyers were 
quite capable of doing.

> > 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.
> 
> Yes, the color names during Elizabeth's reign were certainly
> intriguing! (Though I note that the Anne of Cleves dress that Michaela
> reproduced likely have been made in the 1530s, since Anne was painted
> in it shortly before her marriage to Henry in 1540).  

Both the colors would have been in use as well.

When I first started researching color about 18 years ago, teal, 
peacock blue, dark turqoises and the like were ones I specifically 
looked for. Initially I thought that they couldn't or wouldn't have 
done it. The more I researched, the more I found that there was more 
color variety (once you get to the renaissance especially) than I had 
been repeatedly told.

Actually, an experienced dyer could throughout the middle ages and 
renaissance make any color they desired. Sometimes they couldn't make 
a lot of it, but they could always make enough for embroidery at 
least. (For example, hot pink was fairly easy for many of them and 
you can actually find embroideries which are still extant which have 
them on them. However, the process is such that they probably only 
made enough for an embroidery project or tapestry, not for an entire 
garment. The closest was using them as a "stripe" in some of the 
plaids from some of the Scottish areas.)

But teal (in its various shades) is pretty easy to get using an 
overdye method (which was common for doing "natural" dyeing) and 
could be done in large enough volumes that it was probably used in 
garments, not just for tapestries or embroideries.

The interesting thing happens when you start looking at inventories. 
Ask any man what a color is (unless he is really into textiles) and 
he'd just say "that's green". You could have many shades of reds, 
greens, purples, etc, but the man who inventoried the estate would 
probably just list the basic color. (The renaissance inventories such 
as the Stowe seemed to have more female input. Perhaps that's because 
Elizabeth's women were more involved in it than in previous times.)

Kat
<kat@redtrollforge.com>


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Latest outfits, was wondering
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Same here---usually 5 or 6 projects going at once--my husband says I 'orbit ' around several projects at once. The downside is , that unless there is deadline to worry about--nothing gets finished for a VERY  long while--and then suddenly a whole series is done:) Sometimes projects do get lost in the shuffle ,though ,before I canget back to them. I am just now finishing something( a piece of metal thread embroidery ) that I started 17 years ago(blush) .Anyone else have anything older?
Albra

Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote:
> 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;)

Two? Nah, three, four, five... :-)
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In a message dated 12/1/2003 6:27:29 AM Pacific Standard Time, 
ladyforbeys@yahoo.com writes:
The only women I saw in the movie were apparently
some Brasilian courtesans. Their dresses did not look
very 18th century to my uneducated eye. How far off
were they?
It's funny that you should bring that up.  Recently I met the woman who was 
(one of) the costume designer for M & C.  Her stepson is one of the lawyers I 
work with.  I think she mainly did the men's costumes, but I've been wanting to 
ask her what her sources for inspiration were.

Laura, 
Choreographer; Props Master
http://www.guildofstaugustine.org
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I'm just now catching up on digest posts from this weekend.  I've got a
question for anyone who knows about fabric.
The eBay seller has several auctions of wool gabardine fabric.  The prices
seem really nice.  I'm currently looking for wool but I want something
fairly thick since I will be making a cloak.  Is gabardine what I want or is
it going to be too thin?  As long as we're on the topic are there any key
words like gabardine that I should be looking for while looking for a
thicker wool?

Bjorn Arnaldsson

> 
> 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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> I have my bodies, drafted my bodice and working hard on my spanish
> farthingale. Heres my weird question of the day :-) How are the
> sleeves of a tudor gown attatched Oversleeves? Undersleeves? It's so
> hard for me to tell from photographs of portraits. Thank you,
> Angelique

About the only book which has patterns that actually seem to work 
(especially for that belled turnback Tudor sleeve) is Jean 
Hunnisett's _Costume for Stage and Screen 1500-1800_. Hers seems to 
be the only one where the bell of the turnback hangs correctly. 

She also gives ideas for the undersleeves, although since we don't 
have any extant ones or pictures of ladies putting them on, *any* way 
of doing them is going to be speculation/conjecture. Her method of 
doing the undersleeve is as good as any other.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Master and Commander costumes
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In a message dated 12/1/2003 9:26:03 AM Eastern Standard Time, 
ladyforbeys@yahoo.com writes:
Their dresses did not look
very 18th century to my uneducated eye. How far off
were they?
Well, I believe the film is actually set in the early 19th century, is it not?
Ann Wass
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> Can anyone tell me if they had faceted gems/glass cabochons in the
> 16th century? I know that they put pearls on their necklines, but I'm
> trying to determine if putting faceted jewels on a dress is a
> plausible 16th century decorative technique.

While they had faceted jewels, they aren't the type of faceting that 
you modernly see. They are really rather irregular. The "table cut" 
ones tend to be most like we would see on dress. Think of the 
rectangular shape, not the oval or round jewels.

To see what they would have used, try looking at Ronald Lightbown's 
_Mediaeval European Jewellery_ or one of Diana Scarisbrick's books 
such as _Jewellery in Britain 1066-1837_. One which has some 
particularly nice details of jewels as dress decoration is Priscilla 
Muller's _Jewels in Spain 1500-1800_. 

Kat
<kat@redtrollforge.com>


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Date: Mon, 01 Dec 2003 09:43:43 -0800
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Logwood dyeing:
> Very interesting... Do you happen to have any sources for this? I've
> also got a bundle of essays on the wool trade from the lowlands to get
> through.. and some info on Nijmegen and how the trade peaked and
> declined.. so this would be another wonderful read to add to that pile
> of reading. No pressure btw;) I'll do a search on the net as well..
> this may be getting a bit obessive about it but hey;) So long as I'm
> enjoying it and not frazzling myself needlessly;)

Franco Brunello's _The Art of Dyeing in the history of mankind_ has 
quite a bit about logwood in several of the sections. Most of the 
information I've gathered from multiple sources over the years. (I've 
got more books on dyeing than I can reach from fingertip to fingertip 
on the shelf. That doesn't include the history books such as the 
guild books or the books which are also about costuming which often 
have important information in them.)

I also believe there is a Ciba Review pamphlet on Logwood dyeing. I 
remember seeing it, but I don't have a copy so I can't tell you which 
number it is.

Millia Davenport's costuming book has some information on logwood 
dyes (according to some notes I found in a folder). You might check 
that out too.

If you have access to some of the German dye books from the 
Renaissance, they might prove especially helpful. I've seen snippets 
from them and have wished for complete translations.

> Would logwood then be particularly acidic or is it another chemical
> interaction that causes it to be destructive?

Some of the early trials for logwood evidently used processes which 
were more workable with tannins or other dyewoods. Also, if you 
aren't using the proper mordant (tin being the best) it tends to be 
very fugitive (which was a major part of the reasoning for the bans 
of its use in England). In fact, that's one of the reasons why some 
of the Civil War groups thought that you didn't match the thread 
color to the dress. They kept finding extant garments of dark colors 
(such as dark blue or black) which were entirely sewn with brown 
thread. However, it turned out that the thread had been cheaply dyed 
with logwood (instead of properly dyed with it) and the color had 
just faded away. It probably matched or at least was closer in color 
value when it was first sewn.

> It sounds like a set of issues that would be neat to add to the
> documentation.. like... "this dress probably would have lasted only
> one year and then would have fallen to pieces. So the woman who would
> have ordered it would have been a very wealthy woman to waste so much
> money.";)

Although Brunello doesn't talk about the corrosive properties, the 
wealthy would not have gone for that quality. When the fabric is dyed 
in such a way that it is corrosive, it tends to be more brittle and 
scratchy from the beginning. I doubt that any wealthy person would 
have wanted it because it would have *felt* "cheap."

> Where has my book on dying wool got too.. modern carft book, but it
> would make hunting down recipies fun by searching for the
> ingredients...

Rita Androsko's book (which I consider to be "modern" although she is 
good about the American Civil War period and rather poor on the prior 
periods) has information on Logwood as well.

Most of my "craft" dye books don't say much about logwood. It tended 
to be a commercial dye, not a home dye. Most of the "craft" books 
tend to go more with home dyeing than commercial dyeing.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Master and Commander costumes
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Yes, I believe Master & Commander is set in about 1805 (or was it 1802?
'0-something!)

My assumption with the Brazilian women was that they were obviously
prostitutes (lower class) and possibly indigenous, so were in semi-Western
dress (and either didn't know exactly how it all was supposed to go together
or didn't care).

- Kendra
http://demode.tweedlebop.com

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Subject: Re: [h-cost] Master and Commander costumes
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>  The only women I saw in the movie were apparently
>some Brasilian courtesans. Their dresses did not look
>very 18th century to my uneducated eye. How far off
>were they?

I was pretty surprised to see what looked like a mid-1800s parasol one was 
carrying.  But the costumes should have been early 19th century with 
fashion lag, not 18th century, as the film is set in 1805.


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

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Subject: RE: [h-cost] RE: yard sale books
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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.

I am under the impression they are identical except for the number of 
volumes.  I have the one volume edition.  And somehow mine is missing the 
four color plates (not that I miss them after I saw how bad the originally 
printed color was).  My copy is on its second binding, and since the 
bookbinder saw "Volume I" inside the front, that's what he put on the spine.


        CarolynKayta Barrows
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          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Master and Commander costumes
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>My assumption with the Brazilian women was that they were obviously
>prostitutes (lower class) and possibly indigenous, so were in semi-Western
>dress (and either didn't know exactly how it all was supposed to go together
>or didn't care).

My guess is that they were possibly of mixed blood, possibly full-blooded 
native, but were all trying their best to look civilized (=European).  One 
of the Brazillian men traded something for a sailor's shirt in that scene.

I noticed two period sailor's sewing kit items in the film.  When the dead 
man's sea chest is seen open, there is a wooden thing shaped like a little 
sandbox shovel with a wedge-shaped 'blade'.  That's a seam rubber, for 
flattening out seams on whatever a sailor has to sew.  Then, in the scene 
late in the film where we see someone being sewn into his hammock, the 
sailor actually doing the job is wearing a sewing palm, the 
hand-protector/thimble sail makers wore while sewing sail canvas.

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

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Date: Mon, 01 Dec 2003 10:56:19 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Pleated berhte 1845 dress
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>There are 4 pieces Two for the front and two for the back The back closes 
>at the right schoulder...
>But is every piece just one piece of fabric pleated or are they sepereate 
>pleats sown on to a piece of fabric??
>http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG

I'd say a right front piece, a left front piece, a right back piece and a 
left back piece.  Some of these berthes have piping down the center front 
as if there was a seam there.


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

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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] early tudor undersleeves question
Date: Mon, 01 Dec 2003 19:14:08 +0000
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> Kat wrote:
> <kat@redtrollforge.com>

> About the only book which has patterns that actually seem to work 
> (especially for that belled turnback Tudor sleeve) is Jean 
> Hunnisett's _Costume for Stage and Screen 1500-1800_. Hers seems to 
> be the only one where the bell of the turnback hangs correctly. 

Actually, when I tried her pattern, it didn't hang correctly because of the 
seam placement. I took her pattern and just rotated the seam on the upper 
arm. Her sleeve is a modern shape with the seam on the straight, rather than 
a period shape with the seam on the bias which allows for better arm movement.

Just my $0.02

--
The Honourable Lady Sarafina 
Sinclair, CE, CW, APF
http://ladysarafina.home.att.net
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From: me <ivycircle@yahoo.com>
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Subject: [h-cost] tudor mens er... layers
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Okay the "womens tudor conundrum" is over (thanks again) now I have a men's clothing question Jason (my wonderful husband) Has his nether stocks, shirt, flat cap and I cannot figure out whether his next layer is a doublet of some sort with the huge overcoat next? Can someone shed light on the tudor middle layers for a gentleman? Thank you Angelique


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Subject: Re: [h-cost] Dickens /Christmas/ Costuming
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In a message dated 12/1/2003 2:18:07 PM Eastern Standard Time, kayta@frys.com 
writes:

> Nobody is entirely sure what time period Dickens' Fair covers, but 
> think hoop skirts and you can't go far wrong.
> 

This reminds me of a blurb in a costume catalogue [a dreadful one...Ruby's, 
perhaps] for their hoop skirts:

"Put under long skirt for old timey effect"
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I'd like to thank everyone for their thoughts and opinions on my new "treasures". I spent a lovely
evening last night just reading through a few.  It suddenly occurred to me how much I'd been
missing out on without the Davenport book in my library. That is a *wonderful* book! (I can't find
the color plates either, Kayta, so maybe they are long gone from my copies too.)

Anyway, now I have another question, and this one is for the wonderful guy who brought home my
gifts.  He is a U.S.P.S. letter carrier, and he has wanted me to make him some uniform trousers for
a very long time. The problem is that I can't find the fabric /anywhere/.  It has to be that
specific fabric, because it's a u-n-i-f-o-r-m.  (I spent way too many years in uniforms of various
colors and styles and have developed a hearty hatred of them!)  It's medium blue, medium weight,
polyester with a smooth, tight weave so it is very hard-wearing. There is also a dark blue poly
ribbon that goes up the outside of each leg. 

If anyone knows where to get U.S.P.S. uniform fabric and all the fixin's, would you please let me
know? I've tried the uniform sellers, but no one seems to have the yardage available for
do-it-yourselfers. 

So, this is the thank-you that I you all can help with. The other 'reward' is noneya- this IS a
family list y'know!  :o>

Thanks bunches, 
::Linda::



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> > Nobody is entirely sure what time period Dickens' Fair covers, but
> > think hoop skirts and you can't go far wrong.
> >
>
>This reminds me of a blurb in a costume catalogue [a dreadful one...Ruby's,
>perhaps] for their hoop skirts:
>
>"Put under long skirt for old timey effect"

We had plenty of 'Old Timey' at Dickens' the first weekend - we always 
do.  There were also some really nice outfits.  The costume contest had six 
or seven entries both days.


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

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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] tudor mens er... layers
Date: Mon, 01 Dec 2003 20:06:10 +0000
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Angelique:

You can use this portrait of Edward VI as a guide (assuming you're doing 
upper class clothing). http://www.tudor-portraits.com/Edward.jpg I believe 
that he is wearing hose, shirt, pants, cod piece, doublet, and coat. The 
peplums tended to be long covering most of the pants. Also, I believe that 
they were padding the doublets to give a rounder look at the stomach. A flat 
cap is easy to make and shouldn't take you more than an hour including the 
sewing.

I don't know too much more about men's underwear layers, unfortunately.

--
The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net
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Subject: Re: [h-cost] Pleated berhte 1845 dress
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In a message dated 12/1/2003 2:18:08 PM Eastern Standard Time, kayta@frys.com 
writes:

> >There are 4 pieces Two for the front and two for the back The back closes 
> >at the right schoulder...
> >But is every piece just one piece of fabric pleated or are they sepereate 
> >pleats sown on to a piece of fabric??
> >http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG
> 
> I'd say a right front piece, a left front piece, a right back piece and a 
> left back piece.  Some of these berthes have piping down the center front 
> as if there was a seam there.
> 

In this illustration it appears that the pleats do have a CF seam. Sometimes 
the Berthe is one continuous draped piece across the front, and one across the 
back closing on the shoulder.  This is like the wedding dress in the Bowers 
Museum.

http://www.bowesmuseum.org.uk/collections/image.php3?Name=Wedding+Dress&
image=1963-773-a-b-c-cst-742.jpg

AND sometimes [a lot] the "fitted" Berthe stops at the shoulder seams [which 
are usually back further than the top of the shoulder]. This can be seen in 
the 1839-1845 day dress in the 1st Janet Arnold book. It looks that way in the 
Winterhalter illustration too. There seems to be a red velvet decorative thing 
on the shoulder and no pleats in what little of the back is depicted.

http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG
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Subject: Re: [h-cost] tudor mens er... layers
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over the shirt you will have a long sleeve garment
with bases. Over that you will have a short sleeve or
detachable sleeve garment with bases. Over all this is
the great cloak that Henry VIII is usually pictured as
wearing. The third layer garment sometimes has a deep
neckline so that the decorated second layer can g=be
seen, i.e. embroidery, jewels, etc. The greatcloak
usually has short puffed sleeves so that the sleeves
of the other 2 outer layers can be seen.


 --- me <ivycircle@yahoo.com> wrote: > Okay the
"womens tudor conundrum" is over (thanks
> again) now I have a men's clothing question Jason
> (my wonderful husband) Has his nether stocks, shirt,
> flat cap and I cannot figure out whether his next
> layer is a doublet of some sort with the huge
> overcoat next? Can someone shed light on the tudor
> middle layers for a gentleman? Thank you Angelique
> 
> 


=====
Aurum peccamenes multifariam texit

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Ok, since I'm not a follower of the novelist I tend to
get confused since the REAL HMS Surprise was sold as
surplus in 1802 and was most active from 1794-1800. 
  


> I was pretty surprised to see what looked like a
> mid-1800s parasol one was 
> carrying.  But the costumes should have been early
> 19th century with 
> fashion lag, not 18th century, as the film is set in
> 1805.
> 
> 
>         

=====
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One possible correction:
>Necklaces
>Women often wore pearl necklaces when buried. When the body was 
>cremated, the necklaces were in many cases added afterwards, and are 
>undisturbed today. The strand of pearls shown below also has a cross 
>attatched. We don't know today whether this actually means that she was 
>a Christian, or that she believed in both pagan and Christian gods, or 
>if someone else put it there after she died. (It sounds here as if the 
>reconstruction is closely based on an actual find, but they don't 
>include any references unfortunately.) According to current research 
>ther is much to suggest that many people were "both" pagan and 
>Christian, and that this was accepted because the views on "belonging 
>to" a religion were perhaps less dogmatic than today.

The photo shows millefiore glass beads.  I'd suggest that the translation
here is _bead_ necklace.  In english, pearls are the semiprecious gems
found in oysters' shells.

Thank you for the translation.  I certainly couldn't puzzle that much
out of it.

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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> On Mon, 1 Dec 2003, Kate M Bunting wrote:
> 
> I thought about box-shaped, but wasn't sure if that made sense for the 
> shape. Thanks for clearing that up! "likarmade" definitely means 
> "having similar arms"; I guess I was looking for one word and came up 
> short. :)

They're talking about a cruciform shape, yes?  Equal-armed cross is the
term I've seen used most often in english.  Also sometimes called a byzantine
cross, but I don't think that would apply here.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Mon, 01 Dec 2003 13:10:48 -0800
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Subject: Re: [h-cost] early tudor undersleeves question
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> > About the only book which has patterns that actually seem to work
> > (especially for that belled turnback Tudor sleeve) is Jean
> > Hunnisett's _Costume for Stage and Screen 1500-1800_. Hers seems to
> > be the only one where the bell of the turnback hangs correctly. 
> 
> Actually, when I tried her pattern, it didn't hang correctly because
> of the seam placement. I took her pattern and just rotated the seam on
> the upper arm. Her sleeve is a modern shape with the seam on the
> straight, rather than a period shape with the seam on the bias which
> allows for better arm movement.

I don't know where you saw it was on the straight. It's very clearly 
on the bias according to the grid behind it. Unless you are talking 
about sleeves other than the ones on page 53. 

Also, if you rotate the seam placement, it won't be along the back of 
the arm, which is definitely not a modern place for it, as modernly 
that part is usually at the lowest point of the armscye. It needs to 
be at the back of the arm to make sure that the seam hangs down the 
back of the arm instead of under the arm. Also, that allows the 
straight of the fabric to hang to the floor rather than be at an 
angle, which is what most people's sleeves often do when I see them 
done now adays. That makes them angle out funny from the body rather 
than hanging like the ones in the portraits.

I agree completely that the upper part of the sleeve needs to be on 
the bias so that it gives around the bias when you move. However, 
that is what the diagram on page 53 shows.

I guess I'm just confused as your description doesn't sound like the 
Hunnisett that I went back to the book to check.

Kat
<kat@redtrollforge.com>


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From: AnnBWass@aol.com
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Subject: Re: [h-cost] Latest outfits, was wondering
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In a message dated 12/1/2003 11:52:41 AM Eastern Standard Time, 
albrakat7@yahoo.com writes:
I am just now finishing something( a piece of metal thread embroidery ) that 
I started 17 years ago(blush) .Anyone else have anything older?
Do I count my pitiful handful of quilt squares that I made, oh, about 35 
years ago and have never turned into anything?  I keep thinking I will design a 
square dance skirt around them--I'm certainly never going to make a whole quilt!
Ann Wass
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From h-costume-bounces@indra.com  Mon Dec  1 16:18:23 2003
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From: AnnBWass@aol.com
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Subject: Re: [h-cost] swim wear
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As to period swimwear, I made a bathing dress based on the one Mount Vernon 
has that belonged to Martha Washington.  It is linen with cut similar to a 
chemise, and weights in the hem.  Mine is a blue and white printed linen (wish I 
had bought more of that fabric when I saw it!).  There was an article in 
"Costume," the Journal of the Costume Society, on bathing dress at Bath.  Bathers 
there seem to have worn natural linen smocks or chemise-like garments.  I just 
bought some natural linen to make one.
This wasn't swimming, though.  I'm not sure if women ever really swam, or 
just bathed.

We know from John Quincy Adams's diary that he went swimming in the Potomac, 
even as president, when he was no spring chicken, and he did so nude.

And on the subject of men's bathing au naturel, the boys at our high school 
swam that way--they were allowed to wear athletic supporters, though--I 
remember my brother's hung out to dry and asking my mom what it was.  We girls had to 
wear really hideous red knitted suits that the school provided, but at least 
we didn't have to carry wet suits home.  Needless to say, the classes were NOT 
co-ed.

Ann Wass
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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Mon, 01 Dec 2003 13:24:27 -0800
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Subject: Re: [h-cost] tudor mens er... layers
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> Okay the "womens tudor conundrum" is over (thanks again) now I have a
> men's clothing question Jason (my wonderful husband) Has his nether
> stocks, shirt, flat cap and I cannot figure out whether his next layer
> is a doublet of some sort with the huge overcoat next? Can someone
> shed light on the tudor middle layers for a gentleman? Thank you
> Angelique

The layers (starting at the innermost) would be

a) a shirt, hose and "underpants" (which I wouldn't worry about. The 
ones I've found for the time period go from ones which look very much 
like bikinis to ones which look like boxers. Let him wear what he 
finds comfortable.) The best shirt for this time period to use as an 
example is one we fortunately have extant: the 1540's boy's shirt 
from the V&A. The hose can be to just where the breeches will be like 
the later nether hose or what we would call "knee socks" or you can 
use what they probably used in the period: a version of tights.

b) the doublet and breeches layer. The doublet is usually waist 
length and you don't see much of it except where the jerkin is cut in 
a U shape or at the sleeves.  It can have skirts or not. If they are 
present, they are usually small. The breeches don't show at all 
except after 1550 (such as in some of the Edward VI portraits as well 
as Portrait of a Young Man in Red) except where the codpiece which 
closes its front peaks through

c) the jerkin layer. This is the part of the outfit which has the 
deep U in the front, allowing the doublet to be seen. To this are 
attached deep skirts which look like pretty fabric versions of the 
military bases. Although this layer can be sleeved, it is often 
sleeveless, allowing the doublet sleeves to be seen.

d) the coat layer

For the theatre they usually combine these historical layers so that 
the breeches and hose are in one and the doublet and jerkin are one. 
People seem to be very confused about the jerkin skirts. (I certainly 
was until I started doing more research into the time period and 
looked at so many portraits and reading inventories and other primary 
sources that I finally caught the clue. Also, learning about the 
layers in Alcega, even though they are about 40-50 years later, 
helped as well.)

Kat
<kat@redtrollforge.com>


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Date: Mon, 1 Dec 2003 13:32:00 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Latest outfits, was wondering
To: Historical Costume <h-costume@indra.com>
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Well--I'd count them:) And if not a square dance quilt--what about table cover and/or place mats?? Seems a shame not to use them for something! 
Albra

AnnBWass@aol.com wrote:
In a message dated 12/1/2003 11:52:41 AM Eastern Standard Time, 
albrakat7@yahoo.com writes:
I am just now finishing something( a piece of metal thread embroidery ) that 
I started 17 years ago(blush) .Anyone else have anything older?
Do I count my pitiful handful of quilt squares that I made, oh, about 35 
years ago and have never turned into anything? I keep thinking I will design a 
square dance skirt around them--I'm certainly never going to make a whole quilt!
Ann Wass
_______________________________________________
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http://mail.indra.com/mailman/listinfo/h-costume

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Pleated berhte 1845 dress
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>
>
>>    
>>
>
>In this illustration it appears that the pleats do have a CF seam. Sometimes 
>the Berthe is one continuous draped piece across the front, and one across the 
>back closing on the shoulder.  This is like the wedding dress in the Bowers 
>Museum.
>
>http://www.bowesmuseum.org.uk/collections/image.php3?Name=Wedding+Dress&
>image=1963-773-a-b-c-cst-742.jpg
>
I like the four piece berthe more

>
>AND sometimes [a lot] the "fitted" Berthe stops at the shoulder seams [which 
>are usually back further than the top of the shoulder]. This can be seen in 
>the 1839-1845 day dress in the 1st Janet Arnold book. It looks that way in the 
>Winterhalter illustration too. There seems to be a red velvet decorative thing 
>on the shoulder and no pleats in what little of the back is depicted.
>
I made the bodice from the janet Arnold 1861 evening dress pattern but I 
don't understand the berthe pieces.
My schoulder straps are a bit longer so I could't use it any way. I had 
to make them longer because the curves in the dress where my brests 
schould be were much to high. Now it is fitting nice.
I Think I got the front right but now the back....
Tomorrow.....
Thanks,
        Deredere

>
>http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG
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>

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Date: Mon, 1 Dec 2003 17:03:01 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 12th c. bust support
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On Mon, 1 Dec 2003, Hilary Davidson wrote:

> >   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? 

> No idea if any supporting underwear existed, but I've found in late
> 13th c dresses that if it's close fitting enough, everything stays
> where it's meant to (with occasional hoicks :), whether front or back
> opening. Well enough that I can happily go bra-less and forget about
> it. Having no shaping at the bust like darts or seaming means breasts
> are sort of bound in place. I don't know how this would work for women
> with a lot up top. If the gown you're looking at is losser, a cloth
> binging under it would serve a similar purpose, though the tension at
> the shoulders in a dress keeps all pointing skyward. Maybe cross-
> binding, in the X shape seen on greek chitons.

I missed the original query, so I don't know who posted that, or whether
there was more detail.

Like Hilary, I've found that wearing 2-3 layers of close-fitting (though
not necessarily tight) dresses cuts way down on bounce. Also, even as a
large-busted woman, I look better without a bra when I'm wearing loose
tunic-style gowns, because my bulk lies closer to my body instead of
protruding forward and making my whole torso look fat from the bust down.
For the 12th-c. gowns that were more closely fitted with side-lacing, the
tightness would also provide some stabilization, though not necessarily
uplift. (The layer closest to your body would of course be a linen
chemise, which is the one piece of underwear we can be certain of in most
instances.)

It's worth noting that women of that period were almost certainly much
smaller built, on average, than U.S. women today, who are (on average) of
heavier weight. That's not to say all American women are heavy or
larger-busted than all 12th century women, but rather that the norms would
have been different, and fashion is usually designed around the needs of
the norm.

It's also worth noting that it's likely that some highly fashionable women
of the 12th century bound their breasts, perhaps to look better in the
fitted tunics of the time. The citation suggesting this is part of a
longer harangue about women's vanity written by a monk. I have it
somewhere, though not at fingertips at the moment. If anyone needs it, say
so, and I'll dig it up.

--Robin


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Master and Commander costumes
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You wouldn't have to have read the novels.  The film gives the year as 1805 
at the very beginning.  In fact, a couple of the novels were ransacked for 
parts for this film.  But that's OK - it's a good film.

>Ok, since I'm not a follower of the novelist I tend to
>get confused since the REAL HMS Surprise was sold as
>surplus in 1802 and was most active from 1794-1800.

> > I was pretty surprised to see what looked like a
> > mid-1800s parasol one was
> > carrying.  But the costumes should have been early
> > 19th century with
> > fashion lag, not 18th century, as the film is set in
> > 1805.


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

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] looking for mailman fabric
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On Mon, 1 Dec 2003, Linda Rice wrote:

> If anyone knows where to get U.S.P.S. uniform fabric and all the
> fixin's, would you please let me know? I've tried the uniform sellers,
> but no one seems to have the yardage available for do-it-yourselfers.

Can you buy the absolute largest available size, take it apart, and re-cut
from the pieces?

--Robin

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In a message dated 12/1/2003 4:33:43 PM Eastern Standard Time, 
triade@kabelfoon.nl writes:

> made the bodice from the janet Arnold 1861 evening dress pattern but I 
> don't understand the berthe pieces.
> 

I'm sorry.....all this time I thought you were doing an 1840's gown.
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Wool Vendor
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On Mon, 1 Dec 2003, Formo, Nathan wrote:

> I'm just now catching up on digest posts from this weekend.  I've got
> a question for anyone who knows about fabric. The eBay seller has
> several auctions of wool gabardine fabric.  The prices seem really
> nice.  I'm currently looking for wool but I want something fairly
> thick since I will be making a cloak.  Is gabardine what I want or is
> it going to be too thin?  As long as we're on the topic are there any
> key words like gabardine that I should be looking for while looking
> for a thicker wool?

Gabardine will be a men's suiting weight. It is usually made from a
worsted wool, which is fine and has a dull shine, not like the heavy
woolens you are probably thinking of. If you want a heavy cloak, this
isn't it.

A "wool twill" could be either worsted or woollen, thinner or thicker, and
is worth investigating. Another keyword to look for is coat-weight (if you
want it *really* heavy); don't hesitate to ask us about specific weave
names and descriptions. You can also email the seller and ask whether
something is suit-weight or coat-weight, and whether it's worsted or
woolen. Not all non-worsteds are heavy, but that's a good start in
narrowing it down.

--Robin

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Well, that's the problem. He's pushing the size limit as is at 6'5" and around 300lbs. Yup, he's a
big and tall guy! He can get pants that sort of fit, but he always has trouble with the rise and
the seat not fitting correctly.  His uniform pants are outrageously expensive anyway and the
company allowance doesn't go nearly far enough. I think it's something like $200, which has to buy
shoes, shirts, pants and shorts for a year. If I could make the pants and shorts that would help
out tremendously.

I'm sorry this has no real historic content at all, but if the folks on this list don't know where
to find a fabric, then I'm betting it can't be found. ;o>

Robin, do you think Camille at FFC would know where to get it?

Thanks!
::Linda::

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of Robin Netherton
Sent: Monday, December 01, 2003 6:09 PM
To: Historical Costume
Subject: Re: [h-cost] looking for mailman fabric


On Mon, 1 Dec 2003, Linda Rice wrote:

> If anyone knows where to get U.S.P.S. uniform fabric and all the
> fixin's, would you please let me know? I've tried the uniform sellers,
> but no one seems to have the yardage available for do-it-yourselfers.

Can you buy the absolute largest available size, take it apart, and re-cut
from the pieces?

--Robin




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From h-costume-bounces@indra.com  Mon Dec  1 17:36:09 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] swim wear
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And on the subject of men's bathing au naturel, the boys at our high school
> swam that way--they were allowed to wear athletic supporters, though--I
> remember my brother's hung out to dry and asking my mom what it was.  We
girls had to
> wear really hideous red knitted suits that the school provided, but at
least
> we didn't have to carry wet suits home.  Needless to say, the classes were
NOT
> co-ed.
>
> Ann Wass


> _______________________________________________
I am sorry but, I have to jump in here.   WHERE ARE YOU ?  AND WHAT TIME
FRAME ?    I have always thought that I was one of the older  persons on
this list ( I am closing in on 50 this year ) and this was NOT the norm at
my Junior or Sr. High School.  I was on the girl's swim team in both Jr. &
Sr. High and we had close fitting lacra/nylon swim suits just like they use
today.  Actually, I was on the diving team and we used the pool at the same
time as the swim team (both boys and girls).    This was PUBLIC school in
Texas in the early 60's and I would have assumed that we were behind the
rest of the U.S. but maybe not.   Are you that much older than me or is
Texas more progressive than I thought ?  Boys had to wear suits and girls
were allowed in the pool at he same time.   I had always thought of Texas as
being a little behind the rest of the U.S. but, perhaps I am wrong.

Diane

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: [h-cost] 12th c. bust support
Date: Mon, 1 Dec 2003 22:53:24 -0000
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As somebody who has never worn a bra in my life, I'm of the unsupported
opinion that bust flop down more when the spend more time supported. I've
had 3 kids, breastfed for at total of 4 years or so  and although there is
so sag these days for 41 years old, they still hold their own and don't
agrivate by bouncing overmuch :)

>It's worth noting that women of that period were almost certainly much
smaller built

I'm totally unconvinced on that one, sorry Robin. Certaily the Skellies I
research in depth (which are somewhat earlier it is true ie Middle & Late
Saxon) are of average height for today (both men and women) and much, much
more muscular, yes the women are more muscular than most modern men. Smaller
build tends to come with industrilisation and town dwelling and the
resulting long term, borderline stavation rather than relativly healthy
living

Bust size is not necessarily dependent an build in any case :)

Mel



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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] 10th century Norse costume
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Catherine Ussailis <ceu@equinox.shaysnet.com> wrote
>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!
>

I don't know of any evidence for any specialist underwear, as far as I'm 
aware it was just underdresses.  It's really mid-way through the 12th 
century that they started to invent ways of fitting a dress tighter at 
the waist than the bust, before that there don't seem to be any 
openings, so it has to go over your bust before it gets to your waist. 
When you start having various ways of tightening the dress around the 
ribs, then it will stop the bust hanging down.  As to actual mechanisms 
- well, there goes the bliaut discussion again!  There appear to be ways 
of pulling it tight by lacing, but whether at side or back, with an 
opening or just pleating the extra fabric in, who knows?

Jean
-- 
Jean Waddie
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From h-costume-bounces@indra.com  Mon Dec  1 18:11:38 2003
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From: kat@grendal.rain.com
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Date: Mon, 01 Dec 2003 15:09:28 -0800
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> As somebody who has never worn a bra in my life, I'm of the
> unsupported opinion that bust flop down more when the spend more time
> supported. I've had 3 kids, breastfed for at total of 4 years or so 
> and although there is so sag these days for 41 years old, they still
> hold their own and don't agrivate by bouncing overmuch :)

I'm with you! I rarely wore a bra, mostly because I couldn't find 
ones that fit around my ribcage (I'm at my largest I've ever been and 
still only need a size 32" band size. Most of my life I was more like 
a 28". They rarely make bras smaller than 34" except for training 
bras and expensive specialty ones.) 

However, I noticed (while watching Starship Troopers when it first 
came to the movie theatres) that most 24 year olds had far more droop 
than I did at more than double that age. I'm within a few months of 
50, with a DD cup size and I droop very little. 

So, I firmly believe that Coopers Droop is a myth perpetrated to get 
women to wear bras. Either that or I've been extremely lucky over the 
years.

However, I don't believe that one the average women in the 12th C 
were as weighty as present day American women. I've seen all the 
statistics and while they might have been more muscular, I sincerely 
doubt they would have had as much adipose. What this boils down to is 
that they probably were smaller busted. (Think athletic women who 
seem to be fried eggs unless they've had implants, as opposed to the 
average American woman.)

So, the 12th Century woman probably would be contained just fine by 
just her side laced gown without having to have a special bra or 
corset. (Someone who was exceedingly large might bind their breasts 
like bandaging, but I've never seen anything to suggest a special 
breast garment.)

Kat
<kat@redtrollforge.com>


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 12th c. bust support
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On Mon, 1 Dec 2003, Melanie Wilson wrote:

> >It's worth noting that women of that period were almost certainly much
> smaller built
> 
> I'm totally unconvinced on that one, sorry Robin. Certaily the
> Skellies I research in depth (which are somewhat earlier it is true ie
> Middle & Late Saxon) are of average height for today (both men and
> women) and much, much more muscular, yes the women are more muscular
> than most modern men. Smaller build tends to come with
> industrilisation and town dwelling and the resulting long term,
> borderline stavation rather than relativly healthy living
> 
> Bust size is not necessarily dependent an build in any case :)

Let me rephrase, then. I was trying to be delicate. I was not referring to
height or musculature. I was referring to fat. And body fat content does
have an influence on bust size.

In my experience, a noticeably large proportion of today's historical
costumers and re-enactors are of noticeably large proportions. They are
going to have a harder time replicating the silhouette or even (in some
cases) the construction methods of clothing styles that were designed for
a slimmer norm. Yes, there were fat people in period, but I gather not to
the quantity and degree that we see today. I would wager that they
constituted far less of the population compared with today's re-enactment
(and maybe general U.S.) population; they were probably distributed later
in the age range compared with today; and the degree of overweight was
quite unlikely to be as extreme as often as it is today.

I don't know if the skeletons bear this out. I do know that extant
garments and artwork do. And even if the artwork tends to favor attractive
people, we also need to consider that many of the questions that arise
among costumers are based on replicating costumes as seen in artwork, and
depicted as modeled by people who are often slimmer than the modern person
seeking to replicate the look. That includes the question that started
this discussion -- how do you achieve the perky bosom seen in 12th century
depictions. It may be that part of the answer is to start with the body
type of the people being depicted in the artwork you're emulating. (And I
have no idea whether the original questioner is thin, fat, or in-between,
which is why I addressed several angles on "achieving a perky bosom in
12th century clothing," only one of them having to do with body type, in
case that was a factor for the questioner.)

It's true that we don't know if the art is representative of the
population overall. Maybe there were a whole lot of fat people around who
weren't being pictured. I doubt it, but I don't know enough to rule it
out. But even if that's the case, it's a fair bet that *they* wouldn't
have looked like the slim people in the pictures, and also that they
didn't achieve the same clothing silhouette. So knowing that there were at
least some overweight people in the period still doesn't tell you whether
the clothing looked the same on them. Which brings us back to the same
answer: to achieve the perky bosom seen in 12th century depictions or any
other characteristic of a silhouette seen in period art, part of the
requirement may be to start with a body type similar to the people in the
depictions you're trying to replicate.

--Robin

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In a message dated 12/1/2003 5:36:16 PM Eastern Standard Time, 
Camelothorse@earthlink.net writes:
Are you that much older than me or is
Texas more progressive than I thought ?  Boys had to wear suits and girls
were allowed in the pool at he same time.   I had always thought of Texas as
being a little behind the rest of the U.S. but, perhaps I am wrong.
I'm just over 50, and, actually, our high school, Normandy High School in St. 
Louis County, MO, may have been out of the norm, because periodically people 
would call the radio station to say, "you know what that school is doing in 
swim classes?"  We were, however, one of the few schools to have a swimming pool 
at all.  My brother was 7 years older, but it continued through my years, and 
I think for some years after, as I seem to remember hearing one of the above 
calls later.  The radio station would call the school superintendent to 
confirm if it was true.  (He later went on to be athletic director at Mizzou, by the 
way.)  The boys on the swim team of course wore trunks.

Ann Wass
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It seems like somebody else had even better luck than I.  

DH went back to the house that had the books to see if there was anything left over. Well sure
there was, but another person came by on Sunday and asked, so they just *GAVE* it all to them.
<jagged sobs of jealousy!> 

The story is that the man's mother was a professional costumer and she passed away. He was cleaning
out her belongings and had absolutely no clue of its value.  He did say that there may be a bit
more stuff later, if so he'll be sure to tell us.  

I'm still thrilled with what I got. It's the best Christmas in years!

::Linda::
*************************************************
	





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In a message dated 12/1/2003 5:36:16 PM Eastern Standard Time, 
Camelothorse@earthlink.net writes:
Boys had to wear suits and girls
were allowed in the pool at he same time. 
All our gym classes were single sex, by the way.  I don't think we ever had 
any free swim time.  Both boys and girls had swim teams, but I'm not sure if 
they practiced together or not.
Ann Wass
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Subject: Re: [h-cost] 12th c. bust support
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----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 01, 2003 6:09 PM
Subject: Re: [h-cost] 12th c. bust support


>
> However, I noticed (while watching Starship Troopers when it first
> came to the movie theatres) that most 24 year olds had far more droop
> than I did at more than double that age. I'm within a few months of
> 50, with a DD cup size and I droop very little.
>
> So, I firmly believe that Coopers Droop is a myth perpetrated to get
> women to wear bras. Either that or I've been extremely lucky over the
> years.


And then there are those of us with a relatively small bust, who have had
droop since we had a bust! Mine were NEVER perky. They have pointed at my
knees since there was anything there to point at anything.

I also have a difficult time finding comfortable bras, because although I
have a fairly small frame in general, I have an expansive rib cage. Finding
one that fits properly is an adventure!

Dianne

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Robin Netherton wrote:
> The citation suggesting this is part of a
> longer harangue about women's vanity written by a monk. I have it
> somewhere, though not at fingertips at the moment.

It can be found in an article called "'Well-Cut through the Body:' 
Fitted clothing in Twelfth-Century Europe" by Christina Frieder Waugh in 
the 1999 volume of Dress (the journal of the Costume Society of 
America).  On page 8 she quotes [translated from Latin]:

"I refer you to the devices of women, who cultivate and develop physical 
beauty and have mastered this art.  For what are they more anxious to 
avoid in embellishing the bosom, than that the breasts be overgrown and 
shapeless and flabby? ... Therefore they constrain overgrown and flabby 
breasts with breast-bands, artfully remedying the shortcomings of nature."

This was (according to her endnotes) from a sermon given by Gilbert of 
Hoyland, who died in 1172.  This is the translation given in the text 
(which is to say, I didn't do it!), but if anyone wants the Latin, it's 
given in the endnotes.  Let me know and I'll send it.

Cheers,
Melanie Schuessler

http://www.faucet.net/costume
http://www.coastal.edu/theater

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From: mmcnealy@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 12th c. bust support
Date: Tue, 02 Dec 2003 01:43:47 +0000
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Thanks for the great text! ;) But I still want to know, How did a monk know 
what women wore underneath their gowns? Perhaps he was a bad monk?  or A 
Peeping Monk? ;)

-Marion
> It can be found in an article called "'Well-Cut through the Body:' 
> Fitted clothing in Twelfth-Century Europe" by Christina Frieder Waugh in 
> the 1999 volume of Dress (the journal of the Costume Society of 
> America).  On page 8 she quotes [translated from Latin]:
> 
> "I refer you to the devices of women, who cultivate and develop physical 
> beauty and have mastered this art.  For what are they more anxious to 
> avoid in embellishing the bosom, than that the breasts be overgrown and 
> shapeless and flabby? ... Therefore they constrain overgrown and flabby 
> breasts with breast-bands, artfully remedying the shortcomings of nature."
> 
> This was (according to her endnotes) from a sermon given by Gilbert of 
> Hoyland, who died in 1172.  This is the translation given in the text 

> (which is to say, I didn't do it!), but if anyone wants the Latin, it's 
> given in the endnotes.  Let me know and I'll send it.
> 
> Cheers,
> Melanie Schuessler
> 
> http://www.faucet.net/costume
> http://www.coastal.edu/theater
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mmcnealy@att.net wrote:
> Thanks for the great text! ;) But I still want to know, How did a monk know 
> what women wore underneath their gowns?

Maybe he had a sister.

Or, if it's early enough, the whole "chastity" thing was once 
interpreted to only mean "not married" not "not sexually active."  So he 
might have had a lover.  I'd have to dig out my history text to get the 
date, though, that they got stricter.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

No buckles, no pointy collars!  What did the pilgrims really wear? 
http://t3.preservice.org/T0210276/pilgrimsindex.html
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Greetings--

> but if anyone wants the Latin, it's 
> given in the endnotes.  Let me know and I'll send it.

I'd like to see it, if you could send me a copy...

Susan (nicolaa55@yahoo.com)
up to her eyeballs in Latin clothing references at the moment...

1

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On Mon, 1 Dec 2003, Melanie Schuessler wrote:

> It can be found in an article called "'Well-Cut through the Body:' 
> Fitted clothing in Twelfth-Century Europe" by Christina Frieder Waugh in 
> the 1999 volume of Dress (the journal of the Costume Society of 
> America).

Thanks, Melanie. That would have been the place I'd have looked first, but
the article is filed ... somewhere ...

--Robin

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Have you tried Lane Bryant? I'm a 36B, but have been singing my whole
life so have a ribcage that belongs on an American football player.
Someone there fitted me. The brand I buy is Cacique, and they are
extremely comfortable for everything I do. Do you live in the U.S.?

Arlys


> I also have a difficult time finding comfortable bras, because 
> although I
> have a fairly small frame in general, I have an expansive rib cage. 
> Finding
> one that fits properly is an adventure!
> 
> Dianne
> 
> _______________________________________________
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Yeah, but aren't they all cut on the bias? I don't know of any sleeves
from that time that are cut on the bias.  Plus, it seems awfully
wasteful....
--sue's 2 pence worth

kat@grendal.rain.com wrote:
> 
> > I have my bodies, drafted my bodice and working hard on my spanish
> > farthingale. Heres my weird question of the day :-) How are the
> > sleeves of a tudor gown attatched Oversleeves? Undersleeves? It's so
> > hard for me to tell from photographs of portraits. Thank you,
> > Angelique
> 
> About the only book which has patterns that actually seem to work
> (especially for that belled turnback Tudor sleeve) is Jean
> Hunnisett's _Costume for Stage and Screen 1500-1800_. Hers seems to
> be the only one where the bell of the turnback hangs correctly.
> 
> She also gives ideas for the undersleeves, although since we don't
> have any extant ones or pictures of ladies putting them on, *any* way
> of doing them is going to be speculation/conjecture. Her method of
> doing the undersleeve is as good as any other.
> 
> Kat
> <kat@redtrollforge.com>
> 
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Yes.  A patchwork quilt I started about 18 or 19 years ago.  It's a
sampler of mixed applique and pieced blocks.  The blocks are actually
all done, but I've never pieced them together and quilted them.  Woe to
my quilting stuff, I discovered the SCA and historical needlework and
costuming about 16 years ago <g>.
--sue, who wants to quilt herself an 18th c. petticoat one of these
days, if she can find the right fabric (glazed wool, anyone???)

KATHRYN WOLTERS wrote:
> 
> Same here---usually 5 or 6 projects going at once--my husband says I 'orbit ' around several projects at once. The downside is , that unless there is deadline to worry about--nothing gets finished for a VERY  long while--and then suddenly a whole series is done:) Sometimes projects do get lost in the shuffle ,though ,before I canget back to them. I am just now finishing something( a piece of metal thread embroidery ) that I started 17 years ago(blush) .Anyone else have anything older?
> Albra
> 
> Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote:
> > 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;)
> 
> Two? Nah, three, four, five... :-)
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From h-costume-bounces@indra.com  Mon Dec  1 22:20:46 2003
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Subject: Re: [h-cost] tudor mens er... layers
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Hi. Just an addition to what Kat has said... Look at some of the 
"undress" clothing of this period, notably the "Landsknecht" styles to 
see what was worn under the "court" clothes. The hose evolved from the 
full covering style of the late 15th Cent. with codpiece into the 
separate garment of breeches and hose through a whole process which you 
really have to trace through visual images to really understand (mostly, 
apparently, due to the need for freedom of movement in military 
clothing, if you judge by the Landsknecht stuff...). Suffice it to say 
that the hose, in their two-part-yet-connected early 16th Cent. version, 
were connected via points (ties) to the doublet. The doublet is worn on 
top of the singlet (the shirt), hence the name. The hose and doublet 
connection can be seen in it's later version by looking at the Sture 
clothing from Sweden in Patterns of Fashion.  The jerkin can also be 
replaced by a robe with full bases (shirts), such as that worn by Harry 
VIIIs fool Will Somers on pg. 38 of Ashelford's Visual History book. At 
that point, overclothing becomes an issue related more to status, wealth 
and position. Doctors (both of Medicine and Divinity) wear 
distinguishing overrobes and birettas, for examples. Petit Bourgoisie 
such as merchants, ship's masters, etc. have other sorts of overgowns, 
much less fancy than that of the nobility (see pg 39 of Ashelford for 
another  look). Hope this isn't as clear as mud...  Mike T.




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From h-costume-bounces@indra.com  Mon Dec  1 22:23:10 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 12th c. bust support
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And there's folks like me, now quite large (sigh), but always
big-busted.  I went from completely flat to a really generous C cup in
about 6 months.  The girls never had a chance to be perky.  They
certainly don't now.
If I had to wear a style/time period that was too loose to give me
proper "support," I'd probably either just wear a bra, or some sort of
sports bra.  In neither would I actually be perky--the only times I've
achieved *that* state of affairs in my adult life have been in a Gothic
Fitted Gown prototype, and in an Elizabethan corset (with a really snug
ItalianRen coming close).
As someone who's out of the modern norm, as well as the historical one,
figuring out how to handle fitting and appearance "challenges" in a
non-modern way can actually be kinda fun (above mention of a sports bra
notwithstanding).  I recently had a heck of a time figuring out how to
do a decent square-necked shift for my 16th c. Flemish outfit, but once
I did, I was quite pleased with the results--I tried to apply what
someone from the time would have known about making shifts and such to
my own (modern) architecture.  Heck, it worked great, and I now have a
prototype that's not only good for the shift I originally wanted, but
also for early time periods (tee-tunic type stuff).
--sue

Dianne & Greg Stucki wrote:
> 
> ----- Original Message -----
> From: <kat@grendal.rain.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, December 01, 2003 6:09 PM
> Subject: Re: [h-cost] 12th c. bust support
> 
> >
> > However, I noticed (while watching Starship Troopers when it first
> > came to the movie theatres) that most 24 year olds had far more droop
> > than I did at more than double that age. I'm within a few months of
> > 50, with a DD cup size and I droop very little.
> >
> > So, I firmly believe that Coopers Droop is a myth perpetrated to get
> > women to wear bras. Either that or I've been extremely lucky over the
> > years.
> 
> And then there are those of us with a relatively small bust, who have had
> droop since we had a bust! Mine were NEVER perky. They have pointed at my
> knees since there was anything there to point at anything.
> 
> I also have a difficult time finding comfortable bras, because although I
> have a fairly small frame in general, I have an expansive rib cage. Finding
> one that fits properly is an adventure!
> 
> Dianne
> 
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That would be cool, Melanie!
Thanks,
Sue

Melanie Schuessler wrote:
> <snipped>
> This was (according to her endnotes) from a sermon given by Gilbert of
> Hoyland, who died in 1172.  This is the translation given in the text
> (which is to say, I didn't do it!), but if anyone wants the Latin, it's
> given in the endnotes.  Let me know and I'll send it.
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Wool Vendor
Date: Mon, 1 Dec 2003 22:43:43 -0500
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On Monday 01 December 2003 06:07 pm, Robin Netherton wrote:
> On Mon, 1 Dec 2003, Formo, Nathan wrote:
> > I'm just now catching up on digest posts from this weekend.  I've got
> > a question for anyone who knows about fabric. The eBay seller has
> > several auctions of wool gabardine fabric.  The prices seem really
> > nice.  I'm currently looking for wool but I want something fairly
> > thick since I will be making a cloak.  Is gabardine what I want or is
> > it going to be too thin?  As long as we're on the topic are there any
> > key words like gabardine that I should be looking for while looking
> > for a thicker wool?

You may want to look for "wool coating" or "coating weight"; fabric.com (i.e. 
Phoenix Textiles) and Fashion Fabrics Club use that term to designate heavier 
wools.  Some of them are twills, while some are heavily felted so the weave 
can't be seen.

Wool melton (just got some from Phoenix) is not quite as heavy as the coating 
weight, but feels to me as though it would make a good cloak.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Date: Mon, 1 Dec 2003 19:11:04 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Latest outfits, was wondering
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At 4:09 PM -0500 12/1/03, AnnBWass@aol.com wrote:
>In a message dated 12/1/2003 11:52:41 AM Eastern Standard Time,
>albrakat7@yahoo.com writes:
>I am just now finishing something( a piece of metal thread embroidery ) that
>I started 17 years ago(blush) .Anyone else have anything older?



>Do I count my pitiful handful of quilt squares that I made, oh, about 35
>years ago and have never turned into anything?  I keep thinking I 
>will design a
>square dance skirt around them--I'm certainly never going to make a 
>whole quilt!


Just the other day, I pulled out the box with an unfinished 
needlepoint project I started in college ... which would make it over 
25 years ago.  And I still have the patchwork quilt top that I 
started in high school, which _may_ put it back 30 years.  But I 
could cheat and note that some day I plan to finish the pulled-thread 
edgings on a set of placemats that my mother started when _she_ was 
in college, which gets us back to ... hmm ... roughly 50 years ago.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: "Sarafina Sinclair" <ladysarafina@att.net>
To: "Historical Costume" <h-costume@indra.com>
References: <3FCB0D50.8265.3B91793@localhost> <3FCC003A.B43AC399@in-tch.com>
Subject: Re: [h-cost] early tudor undersleeves question
Date: Mon, 1 Dec 2003 21:59:41 -0600
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The sleeves aren't cut on the bias. The seams are cut on the bias. Do you
have access to the spanish tailor's handbook? It'll show you better than I
can tell you. If not, I can scan a page in to show you.

Sarafina

----------------------------------------------------------------------------
--------
The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net

----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 01, 2003 9:00 PM
Subject: Re: [h-cost] early tudor undersleeves question


> Yeah, but aren't they all cut on the bias? I don't know of any sleeves
> from that time that are cut on the bias.  Plus, it seems awfully
> wasteful....
> --sue's 2 pence worth
/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] Re: viking costume
Date: Mon, 1 Dec 2003 23:13:38 -0500
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On Monday 01 December 2003 11:30 am, Joanna Hobbins wrote:
> http://www.historiska.se/histvarld/eng/drakt.htm

After I sent my reply, I noticed that the page Joanna found does not list all 
the patterns (the 14th and 15th c ones) and for the men's stuff it says 
"coming soon".  So the Museum apparently has put someone to work translating 
these costume-related parts of the site, at least.  Maybe they'll even 
translate the directions that go with the patterns they have PDF's for!  

<does a little happy dance>  :-)

-- 
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] Re: viking costume
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On Monday 01 December 2003 11:30 am, Joanna Hobbins wrote:
> Some parts of the website have been officially translated into english.
>
> http://www.historiska.se/histvarld/eng/drakt.htm
>
> I have no idea how to get to the english page from the main site
> unfortunately, or even if other parts of the site are in english.

Thanks for finding this!

I went to the URL you found, and it showed the page with the links to pictures 
of the costume reproductions in English.  I went to the page for the "Viking 
noble woman," and the introductory page was in English, but the pages for the 
different items of her costume were not.  Sigh.

-- 
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: Viking dress from historiska.se, was Re: [h-cost] wondering
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On Monday 01 December 2003 08:10 am, Ingrid G. Storrø wrote:
> On Fri, 28 Nov 2003, Catherine Olanich Raymond wrote:

> > 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).  :-)
>
> My native language is Norwegian, which means that I can understand 99.9
> of what I read in Swedish, although I couldn't write it correctly to
> save my life. :D The problem is translating between two languages which
> are not my own; it all boils down to passive vs. active vocabulary I
> guess, although it is much easier for me to write something from scratch
> in English than to translate things. I don't think I botched it too
> badly though. :)

I don't mind.  You still understand more than I do, so I'm not in a position 
to complain if the grammar is less than perfect.  :-)  Thanks again.


-- 
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] 12th c. bust support--the Latin
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Here's the Latin version of the bust-binding reference:

ad mulierum te studia mitto, quae corporei decoris et cultus et operam 
gerunt, et assecutae sunt artem.  Quid enim magis affectant in ornatum 
pectoris, quam ne mammae superexcrescant, et deformiter finitent, ... 
Ideo excrescentes et fluitantes fasciis pectoralius stringunt, naturae 
vitio arte medentes.

I'd be interested to know if anyone comes up with a translation 
dramatically different from that in the article.

Enjoy!
Melanie Schuessler


http://www.faucet.net/costume
http://www.coastal.edu/theater

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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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[snip]
> > *Were the same rare pigments used on minatures also used in early oil
> > paintings?
>
> there's a good account of the differences between minitaurists and
> portraitists' use of pigments, and the way the resulting work was valued,
> in a chapter of Renaissance Clothing and the materials of memory, by Jones
> and Stallybrass, Cambridge University Press, 2000.

Argh.  Yet another reason to want that book....

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Date: Mon, 1 Dec 2003 23:23:19 EST
Subject: Re: [h-cost] Latest outfits, was wondering
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In a message dated 12/1/2003 10:10:04 PM Eastern Standard Time, 
mooncat@in-tch.com writes:
sue, who wants to quilt herself an 18th c. petticoat one of these
days, if she can find the right fabric (glazed wool, anyone???)
You can also use silk--much easier to find.  You could probably find a 
suitable wool from Scalamandre, though, if you were willing to pay the price.
Ann Wass
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 12th c. bust support
Date: Mon, 1 Dec 2003 23:26:54 -0500
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On Monday 01 December 2003 06:09 pm, kat@grendal.rain.com wrote:
> > As somebody who has never worn a bra in my life, I'm of the
> > unsupported opinion that bust flop down more when the spend more time
> > supported. I've had 3 kids, breastfed for at total of 4 years or so
> > and although there is so sag these days for 41 years old, they still
> > hold their own and don't agrivate by bouncing overmuch :)
>
> I'm with you! I rarely wore a bra, mostly because I couldn't find
> ones that fit around my ribcage (I'm at my largest I've ever been and
> still only need a size 32" band size. Most of my life I was more like
> a 28". They rarely make bras smaller than 34" except for training
> bras and expensive specialty ones.)

Used to be true, maybe, but is true no longer.  

I started out post-adolescence as a 34A.  Then, about 5 years ago, I lost a 
fair amount of weight and went down as a result to a 32A.  

I can find bras in ordinary stores in 32A; Victoria's Secret also carries 
them. (I'm wearing a VS model as I type this, in fact).  It's just a bit 
harder to find them because stores stock fewer bras in small sizes....

By the way, my breasts have never drooped, either at 34 or 32 A.


>
> However, I noticed (while watching Starship Troopers when it first
> came to the movie theatres) that most 24 year olds had far more droop
> than I did at more than double that age. I'm within a few months of
> 50, with a DD cup size and I droop very little.

You are to be commended.  


-- 
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: Viking dress from historiska.se, was Re: [h-cost] wondering
Date: Mon, 1 Dec 2003 23:28:40 -0500
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On Monday 01 December 2003 03:53 pm, Lee Thompson-Herbert wrote:
> One possible correction:

[Ingrid translated]
> >Necklaces
> >Women often wore pearl necklaces when buried. When the body was
> >cremated, the necklaces were in many cases added afterwards, and are
> >undisturbed today. The strand of pearls shown below also has a cross
> >attatched. We don't know today whether this actually means that she was
> >a Christian, or that she believed in both pagan and Christian gods, or
> >if someone else put it there after she died. (It sounds here as if the
> >reconstruction is closely based on an actual find, but they don't
> >include any references unfortunately.) According to current research
> >ther is much to suggest that many people were "both" pagan and
> >Christian, and that this was accepted because the views on "belonging
> >to" a religion were perhaps less dogmatic than today.
 
[Lee wrote]
> The photo shows millefiore glass beads.  I'd suggest that the translation
> here is _bead_ necklace.  In english, pearls are the semiprecious gems
> found in oysters' shells.

In a lot of European languages, "perle" or similarly spelled words denote 
"bead."  I had forgotten that until you raised this point.  Thanks.


-- 
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] swim wear
Date: Mon, 1 Dec 2003 23:33:22 -0500
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On Monday 01 December 2003 04:16 pm, AnnBWass@aol.com wrote:
> As to period swimwear, I made a bathing dress based on the one Mount Vernon
> has that belonged to Martha Washington.  It is linen with cut similar to a
> chemise, and weights in the hem.  Mine is a blue and white printed linen
> (wish I had bought more of that fabric when I saw it!).  There was an
> article in "Costume," the Journal of the Costume Society, on bathing dress
> at Bath.  Bathers there seem to have worn natural linen smocks or
> chemise-like garments.  I just bought some natural linen to make one.
> This wasn't swimming, though.  I'm not sure if women ever really swam, or
> just bathed.

Wow.  I didn't know that there was any kind of specialized "bathing dress", 
even the loose linen kind, in Martha's day.  Thanks for the info!

-- 
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  Mon Dec  1 23:36:06 2003
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Master and Commander costumes
Date: Mon, 1 Dec 2003 23:35:39 -0500
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On Monday 01 December 2003 04:39 pm, Carolyn Kayta Barrows wrote:
> You wouldn't have to have read the novels.  The film gives the year as 1805
> at the very beginning.  In fact, a couple of the novels were ransacked for
> parts for this film.  But that's OK - it's a good film.

My husband, who loves reading about the Age of Fighting Sail and owns all the 
Patrick O'Brian novels, said they took bits out of about 6 of them for 
"Master and Commander".  But he loved the movie anyway.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Catherine Olanich Raymond wrote:
> On Monday 01 December 2003 04:39 pm, Carolyn Kayta Barrows wrote:
> 
>>You wouldn't have to have read the novels.  The film gives the year as 1805
>>at the very beginning.  In fact, a couple of the novels were ransacked for
>>parts for this film.  But that's OK - it's a good film.
> 
> 
> My husband, who loves reading about the Age of Fighting Sail and owns all the 
> Patrick O'Brian novels, said they took bits out of about 6 of them for 
> "Master and Commander".  But he loved the movie anyway.  :-)
> 
> 

Speaking of naval novels, movies and costumes, there are two new 
episodes of Horatio Hornblower that are out, one of which airs Tuesday 
evening, so check your listings for A&E channel.

I understand there is a trailer here: 
http://www.aetv.com/tv/shows/horatio_hornblower/



Dawn



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] blue pigments (was Latest outfits)
Date: Tue, 2 Dec 2003 00:07:09 -0500
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On Monday 01 December 2003 03:04 am, Lee Thompson-Herbert wrote:
> Catherine Olanich Raymond <cathy@thyrsus.com> wrote:
> > If you mean the color being worn by the woman in this picture:
> >
> > http://polaris.umuc.edu/~jthies/Tanya.gif
> >
> > That's not what I'm talking about here (I hate that particular
> > dark-greenish teal, by the way, and the related brighter color that was
> > so darn popular during the 1990s).
> >
> > I mean the "teal blue" color that Michaela's "Anne of Cleves" dress is:
> >
> > http://costumes.glittersweet.com/sca/cleves.htm
> >
> > To me, the "Anne of Cleves" dress is not a teal at all, but more of a
> > turquoise blue--but this discussion started out referring to it as teal
> > blue, and I was trying to stay consistent.  :-)
>
> This might be a difference in monitors.  I don't see a great deal of
> difference between the dress colors in those two photos.  

I take it you mean, "other than that the "Tanya.gif" is darker than Michaela's 
dress."  

I appreciate that (particularly since the "Tanya.gif" is too dark; I couldn't 
find the page with the photo that really shows the "teal" color I meant.  Let 
me try again.  Nope, still no luck...


>The only place I
> see anything resembling turquoise blue is the one shot on Michaela's page
> that's labeled as FabricTest2.  In that shot, it looks to me like the flash
> has caught the sheen of the velvet and has overexposed the frame, making
> the color look much lighter than it would otherwise.  All the other photos,
> including ones that look like they were taken in natural light, are darker
> and have a more greenish cast.
> (real turquoise of decent quality is _not_ greenish)

I'm familiar with the varieties of turquoise.  I know it ranges from quite 
greenish to very blue.  

That's part of my point.  I don't see the color of Michaela's "Anne of Cleves" 
dress as greenish at all.  I see it as a true turquoise blue.

(Of course, independently of the monitor issue, that may simply be a quirk in 
my perception.  My husband and I have fought more than once because what I 
call "aqua" he sees as a light green.)  :-)




-- 
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] blue pigments (was Latest outfits)
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On Monday 01 December 2003 06:06 am, michaela wrote:
[snip]
>
> To be honest.. it's mostly right between the two shades... I have yet to
> get a photo of it that really shows the real colour.. which is not terribly
> chemically in colour if you get my meaning... It's not a pure jewel tone,

In the sense that it's not a pure, primary color blue, no.  

> but it's not areally dusty (which a lot of people seem to think of as what
> natural dyes are- not impuning anyone.. just the trend I've come across all
> over the place;) )

I agree it's not a "dusty" shade.  I don't think it's grayish at all.



> It's not green, it's not blue.. though perhaps slightly more in the blue
> tones.

I think it's very clearly a blue, though it may well have a bit of green in 
the mix.  (But then, people's mileage varies in color perception).


>
> Blues are a pain to convert to CMYK for printing.. I know many of my scans
> for a magazine had to be played with a lot.. hmm.. maybe the dress is a bit
> more in the cyan range... no that's too clear... I'm not sure if I need to
> adjust my camera settings.. I might have them in CMYK not RGB...
>
> And of course actual light levels affects the colour greatly, not just on
> camera either.

Quite true. 


>
> It looks nice with wood... unlike the blues and pinks of some plastic items
> I have sitting next to the pouch hanging on the same bit of wood.
>
> I had misgivings about the colour at first too;) But I thought hang it..
> get the fabric document it later;) Pleased I did;)
>
> Oh the sleeves are lined in a shot fabric that is at least part silk. I
> need to do a good few test to work out just how much though... another oh
> thank heavens find in my storage box;)

I still think it's beautiful.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: [h-cost] Desperately Seeking Fabric
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For anyone who knows me, that's a funny statement. However, in spite of
several dozen tubs of fabric in my garage, I don't have the one kind of
fabric I need to finish a project. I am looking for a slightly rough
cotton (either 45" or 60", I'm not fussy) with a white and either black,
dark green, grey, or maroon stripe, preferably about an inch wide. It
seems that stripes are not the current fashion because I've been looking
for fabric of that description for several months and have not been able
to find it. The fabric will make an underskirt for an American Colonial
Middle-class outfit. I've considered other patterns of fabric (oh, did I
mention I'd prefer it to be a woven stripe, but at this point I'll
settle?), but nothing else meets my vision. I've been to JoAnn's,
Hancock, and the local quilting shop, and there's nothing even close.
I've surfed all the Web fabric stores I know (including Fabric.com which
is normally great) and nada. Can anyone point me in the direction of
about 4 yards of cotton with 1 inch stripes? I'd be eternally grateful.



Karen

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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Desperately Seeking Fabric
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Karen,

Have you tried upholstery shops?

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


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On Monday 01 December 2003 11:47 am, kat@grendal.rain.com wrote:
> > If you mean the color being worn by the woman in this picture:
> >
> > http://polaris.umuc.edu/~jthies/Tanya.gif
> >
> > That's not what I'm talking about here (I hate that particular
> > dark-greenish teal, by the way, and the related brighter color that
> > was so darn popular during the 1990s).
> >
> > I mean the "teal blue" color that Michaela's "Anne of Cleves" dress
> > is:
> >
> > http://costumes.glittersweet.com/sca/cleves.htm
> >
> > To me, the "Anne of Cleves" dress is not a teal at all, but more of a
> > turquoise blue--but this discussion started out referring to it as
> > teal blue, and I was trying to stay consistent.  :-)
>
> Both of them can be made with using weld overdye of an indigo dyed
> fabric. The balance depends on the depth of the color used for each
> step and that was something that medieval and renaissance dyers were
> quite capable of doing.

Fair enough. Thank you.

You've certainly given an answer to one of the questions I asked.  (In any 
event, I've known for a while that natural dyes can produce a generous range 
of shades.)  The other was were they really doing it.  Still, it's progress.

[snip]
> Both the colors would have been in use as well.
>
> When I first started researching color about 18 years ago, teal,
> peacock blue, dark turqoises and the like were ones I specifically
> looked for. Initially I thought that they couldn't or wouldn't have
> done it. The more I researched, the more I found that there was more
> color variety (once you get to the renaissance especially) than I had
> been repeatedly told.
>
> Actually, an experienced dyer could throughout the middle ages and
> renaissance make any color they desired. 

With the exception of day-glo.  :-)  

[snip]
> The interesting thing happens when you start looking at inventories.
> Ask any man what a color is (unless he is really into textiles) and
> he'd just say "that's green". You could have many shades of reds,
> greens, purples, etc, but the man who inventoried the estate would
> probably just list the basic color. (The renaissance inventories such
> as the Stowe seemed to have more female input. Perhaps that's because
> Elizabeth's women were more involved in it than in previous times.)

No doubt.  

In any event, it's tough to describe colors in words--even if you're trying, 
and I'm sure you're right when you say many of the inventories were prepared 
by people who didn't need to get more precise than "blue" or "green".  It's 
all the more maddening when your pictorial evidence is limited and surviving 
garments are nonexistent.


-- 
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] Master and Commander costumes
Date: Tue, 2 Dec 2003 00:31:03 -0500
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On Tuesday 02 December 2003 12:02 am, Dawn wrote:
> Catherine Olanich Raymond wrote:
> > On Monday 01 December 2003 04:39 pm, Carolyn Kayta Barrows wrote:
> >>You wouldn't have to have read the novels.  The film gives the year as
> >> 1805 at the very beginning.  In fact, a couple of the novels were
> >> ransacked for parts for this film.  But that's OK - it's a good film.
> >
> > My husband, who loves reading about the Age of Fighting Sail and owns all
> > the Patrick O'Brian novels, said they took bits out of about 6 of them
> > for "Master and Commander".  But he loved the movie anyway.  :-)
>
> Speaking of naval novels, movies and costumes, there are two new
> episodes of Horatio Hornblower that are out, one of which airs Tuesday
> evening, so check your listings for A&E channel.

We have friends who have a boxed set of 6 Horatio Hornblower DVDs, which we're 
going to watch with them.  Don't know if it's the same A&E series or not, but 
they're good...  :-)

Thanks for the tip.
-- 
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] Desperately Seeking Fabric
Date: Tue, 2 Dec 2003 00:33:05 -0500
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There's some linen with woven stripes on fabrics-store.com right now, though 
none of the stripes quite match what you describe.  You may want to take a 
look anyway, though.



On Tuesday 02 December 2003 12:14 am, seamstrix@juno.com wrote:
> For anyone who knows me, that's a funny statement. However, in spite of
> several dozen tubs of fabric in my garage, I don't have the one kind of
> fabric I need to finish a project. I am looking for a slightly rough
> cotton (either 45" or 60", I'm not fussy) with a white and either black,
> dark green, grey, or maroon stripe, preferably about an inch wide. It
> seems that stripes are not the current fashion because I've been looking
> for fabric of that description for several months and have not been able
> to find it. The fabric will make an underskirt for an American Colonial
> Middle-class outfit. I've considered other patterns of fabric (oh, did I
> mention I'd prefer it to be a woven stripe, but at this point I'll
> settle?), but nothing else meets my vision. I've been to JoAnn's,
> Hancock, and the local quilting shop, and there's nothing even close.
> I've surfed all the Web fabric stores I know (including Fabric.com which
> is normally great) and nada. Can anyone point me in the direction of
> about 4 yards of cotton with 1 inch stripes? I'd be eternally grateful.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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> I started out post-adolescence as a 34A.  Then, about 5 years ago, I
> lost a fair amount of weight and went down as a result to a 32A.  
> 
> I can find bras in ordinary stores in 32A; Victoria's Secret also
> carries them. (I'm wearing a VS model as I type this, in fact).  It's
> just a bit harder to find them because stores stock fewer bras in
> small sizes....

But the A cup is still fairly small. The 28s and 30s are still 
nonexistant (just like the G cup bras.)You can usually find As, Bs 
and Cs nowadays (mostly at Nordstroms and Victoria Secret) but 
finding the Ds and DDs is still *very* difficult. (Especially the 
DDs. Forget anything larger.) And they are usually in the more ugly 
(to me) styles (like the ones with really heavy, scratchy stretch 
lace on the sides. Ugh.) If I'm lucky they have one in my size 
(either because they didn't get more in than that or because they've 
already sold it to someone else.) And finding them in other stores is 
still pretty impossible.

Frankly, both my 18th C and my several 16th C corsets are far more 
comfortable. They just give one a very odd line in modern clothes. ;)

Kat
<kat@redtrollforge.com>


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> Yeah, but aren't they all cut on the bias? I don't know of any sleeves
> from that time that are cut on the bias.  Plus, it seems awfully
> wasteful.... --sue's 2 pence worth

You'd be surprised at how much during the 16th and 17th C was cut on 
the bias. Sometimes they cut whole outfits on the bias. For example, 
In Janet Arnold's Patterns of Fashion 1560-1620 on page 5, which 
shows Burguen's f.146. 

What I've found is that the Tudor turnback sleeve actually fits the 
fabric better on the bias. It has a lot of fabric to begin with and 
can be quite wide. They require a lot less piecing when they are cut 
on the bias.

Besides, in the 16th C they were much less concerned with conserving 
fabric than they were in the much earlier time periods. Look at the 
volume of fabric that even goes into a 15th C outfit. Then watch to 
see how the same amount goes into some of the 16th C ones, just with 
more tailored pieces. (It's times like this that one wishes for a way 
to see how they really did it in period!)

Kat
<kat@redtrollforge.com>


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> In any event, it's tough to describe colors in words--even if you're
> trying, and I'm sure you're right when you say many of the inventories
> were prepared by people who didn't need to get more precise than
> "blue" or "green".  It's all the more maddening when your pictorial
> evidence is limited and surviving garments are nonexistent.

Frankly, most extant garments are pretty worthless for telling what 
color they were. Most are either "grave stained" or "ground stained." 
They are pretty much "brown". If we are lucky a dye analysis will 
show if madder or woad/indigo were used, and sometimes if we are very 
lucky, weld. However, dyes can be leached away, fade away over time 
or be chemically changed so that they do not test as being dyed.

I think that's why it's so important to use as many sources as you 
can. Look not just at portrait, not just at extant garments, not just 
at inventories/wills/laws/etc but in addition to all of those also 
look at tapestries (even if they aren't showing any costumes) to see 
what colors were available. It really takes looking at every single 
bit of information available to really get a better picture of what 
was.

Kat
<kat@redtrollforge.com>


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A question about Tudor dresses (1540s about). I have a pattern that shows using a gores using 4 gores for the skirt pattern. The question is when did cartridge pleating come into being? Could I cartridge pleat the skirt to have a fuller skirt and then attach the bodice?
Were the skirts supported by any type of hoops in the 1540s and were bumrolls used? Still trying to figure just how to put this all together.
Many thanks
Ysandra
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bust support, was re: 12th c. bust support
Date: Tue, 2 Dec 2003 01:16:04 -0500
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On Tuesday 02 December 2003 12:42 am, kat@grendal.rain.com wrote:
> > I started out post-adolescence as a 34A.  Then, about 5 years ago, I
> > lost a fair amount of weight and went down as a result to a 32A.
> >
> > I can find bras in ordinary stores in 32A; Victoria's Secret also
> > carries them. (I'm wearing a VS model as I type this, in fact).  It's
> > just a bit harder to find them because stores stock fewer bras in
> > small sizes....
>
> But the A cup is still fairly small. 

No argument there.  I was just pointing out that it's a small size that is 
fairly widely available.  :-)


>The 28s and 30s are still
> nonexistant (just like the G cup bras.)You can usually find As, Bs
> and Cs nowadays (mostly at Nordstroms and Victoria Secret) but
> finding the Ds and DDs is still *very* difficult. (Especially the
> DDs. Forget anything larger.) And they are usually in the more ugly
> (to me) styles (like the ones with really heavy, scratchy stretch
> lace on the sides. Ugh.)

Sympathy.  I've seen some of the bras they make in size DD and the like, and 
you're right.  

> If I'm lucky they have one in my size
> (either because they didn't get more in than that or because they've
> already sold it to someone else.) And finding them in other stores is
> still pretty impossible.
>
> Frankly, both my 18th C and my several 16th C corsets are far more
> comfortable. 

I bet they're more supportive, too.  You're making me glad that the modesty of 
my personal endowment has meant that support has never been an issue for me 
(except in tae kwon do class, but a standard model spandex sports top was 
always quite sufficient).  :-)



-- 
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] 12th c. bust support
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>However, I don't believe that one the average women in the 12th C
were as weighty as present day American women.

If by build you mean excess fat I'd agree, but to me in English build is
skeletal, so perhaps a lingustic mix up there ?

>I've seen all the
statistics and while they might have been more muscular, I sincerely
doubt they would have had as much adipose. What this boils down to is
that they probably were smaller busted. (Think athletic women who
seem to be fried eggs unless they've had implants, as opposed to the
average American woman.)

But think of the evolutionary evidence for big busts. It is clear lots of
boob is not necessary for feeding children, but it has been sexually
selected for 100s of thousands of years (Stone age statues etc etc)

Excessivly Athletic women in modern terms tend not to menstruate either (so
I'm told), which is not a desirable evolutionary trait. Most horse and
agricultural workers (in the UK) I know are very physically fir and well
muscled, but have average to large boobs not bee stings :) A generalisation
I know !

Fat build up tends not to be related to excersise which is why it is so hard
to get a fashion figure. A book Fats of life is a good read on this

Mel

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Latest outfits, was wondering
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Wow! Looks like Heather holds the record for having on hand the oldest unfinished project:) And I now don't feel quite as embarrassed as before:)
thanks for sharing--
Albra

Heather Rose Jones <hrjones@socrates.berkeley.edu> wrote:
At 4:09 PM -0500 12/1/03, AnnBWass@aol.com wrote:
>In a message dated 12/1/2003 11:52:41 AM Eastern Standard Time,
>albrakat7@yahoo.com writes:
>I am just now finishing something( a piece of metal thread embroidery ) that
>I started 17 years ago(blush) .Anyone else have anything older?



>Do I count my pitiful handful of quilt squares that I made, oh, about 35
>years ago and have never turned into anything? I keep thinking I 
>will design a
>square dance skirt around them--I'm certainly never going to make a 
>whole quilt!


Just the other day, I pulled out the box with an unfinished 
needlepoint project I started in college ... which would make it over 
25 years ago. And I still have the patchwork quilt top that I 
started in high school, which _may_ put it back 30 years. But I 
could cheat and note that some day I plan to finish the pulled-thread 
edgings on a set of placemats that my mother started when _she_ was 
in college, which gets us back to ... hmm ... roughly 50 years ago.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] 12th c. bust support
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>Let me rephrase, then. I was trying to be delicate. I was not referring to
height or musculature. I was referring to fat.

I have now grasped that, obviously I'm more of a spade a spade person :) If
I mean fat I say it ;)

> And body fat content does
have an influence on bust size.

To some extent but not nearly as much as genetic disposition. Humans have a
very odd fat storage system and ability to be much fatter than other animals
without many harmful effects...

>In my experience, a noticeably large proportion of today's historical
costumers and re-enactors are of noticeably large proportions.

True (then again the population at large is fatter, blame the processed
foods and saturated fats)

 >. Yes, there were fat people in period, but I gather not to
the quantity and degree that we see today.

Agreed except perhaps monks who didn't wear the same frocks !

>and the degree of overweight was
quite unlikely to be as extreme as often as it is today.


all agreed


>I don't know if the skeletons bear this out.

Hard to say on the fat except that the muscular indication would not match
the artwork siloettes IMHO, the artwork is I think too styilised or too
upper class perhaps ? Mostly our skellies are average folk not nobs so I've
not as yet been able to make comparissons, but hopefully I will in the
future

>I do know that extant
garments

How many extant 12C female garments are there ? Most if not all I'd guess
are fairly high status and cannot possibily match the number of skellies
avaliable for any given period due to their less durable nature.

>and artwork do. And even if the artwork tends to favor attractive
people,

Or make attractive unattractive people :)

>how do you achieve the perky bosom seen in 12th century
depictions.

The question as I read it was "what sort of
> underwear existed for women in the 12th century?"

ie how did they achieve the body shape not how does a modern person emulate
the body shape

>It's true that we don't know if the art is representative of the
population overall.

I'd bet not, I can't think of any era that it did, even working class
interpretation (eg Lowry) cannot be taken as reaslistic

>Maybe there were a whole lot of fat people around who
weren't being pictured.

There is some skeletal evidence of over eating, this tends to be in
religious contexts (or at least that is what is written up), most written
about are monks and their gout. I've not come across anything on Nuns and
their fat as yet.

Men & women fatten quite differently and women would carry a fair amount of
fat as they are hard wired to try to do so if at all possible (ie if they
are not starving) Which is one reason for over indulgance evolution has not
yet given humans on off switch when enough fat has been eaten. Which in
evolutionary terms suggest, getting enough fat is important and desirable.
Fat previously in many social situation was desirable as a wealth indicator

>Which brings us back to the same
answer: to achieve the perky bosom seen in 12th century depictions or any
other characteristic of a silhouette seen in period art, part of the
requirement may be to start with a body type similar to the people in the
depictions you're trying to replicate.

If of course you accept that the perky boobs were not part of the artisic
ideal :) but were a reality.

Hopefully I'll get to know more on the boob situation once I get started on
the childbearing research

Mel

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 12th c. bust support
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>Perhaps he was a bad monk?

Most monks seemed to be pretty bad, heaps of cases of them getting nuns
pregnant etc etc :)

Mel

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From: "Sarafina Sinclair" <ladysarafina@att.net>
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Subject: Re: [h-cost] early tudor undersleeves question
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----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 01, 2003 3:10 PM
Subject: Re: [h-cost] early tudor undersleeves question

> I don't know where you saw it was on the straight. It's very clearly
> on the bias according to the grid behind it. Unless you are talking
> about sleeves other than the ones on page 53.

I apologize for not saying what I mean more clearly. It appears to me that
Hunnisett took a modern sleeve shape and rotated the grain to the bias. The
seams are still mostly straight (ie parallel to the selvedge if cut on the
straight grain).

In the introduction on page 6, Hunnisett says "It is not a history of
costume as that subject is covered by other people who are far more learned
than I. The dating is not precise but is accurate enough for general use in
the theatre. Anyone making re-creations should consult other forms of
reference, original sources or museum textile departments." What she has
presented is theory and and designed for looking good on the stage. My
theory of the sleeve construction is just as theoretical as Hunnisett's
because in the end, we are both working largely from portraits. The evidence
that I present is a couple of portraits and the actual constructing of the
sleeve cut both ways. The clothing of this century is very fascinating to me
and I am trying very hard to discern as much as I can about construction
from the portrait evidence.

When you look at the pattern on page 53, the entire sleeve is cut with the
grain on the bias. I believe that this is a modern solution for conserving
fabric (because the bias cut sleeve will fit on 45" wide fabric whereas the
straight grain cut will not). Also, when one cuts the top part of the sleeve
out on the bias with a modern shape, one can compensate for not having a
more modern sleeve shape at the top.

If you look at this portrait of Jane Seymour, you can see that the grain of
her lining of the outer sleeve lies on the straight grain.
http://www.marileecody.com/seymour1.jpg . Also, if you find a copy of the
whitehall portrait which was painted after Jane's death, the grain of the
ermine lining is on the straight also. Alot of the linings for this type of
sleeve were fur (at least in the surviving portraiture) and the joins in the
fabric are easily hidden by a skilled furrier. This makes hide width
unimportant because the furrier would create whatever size piece was needed.
Other linings appear to made from velvet. I cannot explain why joins in
velvet would not be portrayed other than to say that perhaps the artists
left them out.

I cut two sleeves out with the same shape; one with the grain on the bias
and one with the grain on the straight. I did not use Hunnisett's pattern
for the top of the sleeve. I adjusted the shape to one used in period. [That
is to say that the grain of the sleeve is on the straight. The seams are
diagonal. I put the seam on the back of the arm like in a modern suit
jacket, rather than under the arm against the body in a typical button up
modern shirt.] The one that I cut on the straight hangs very nicely and
looks like the portraits. The one cut on the bias also looked nice, but not
quite the same as the portraits.

Sarafina

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

The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net



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From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Desperately Seeking Fabric
Date: Tue, 2 Dec 2003 02:03:52 -0500
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Karen-

Carolina Calicoes has this in blue/white and green/white, only the stripe is 1/2" not a full inch. 
http://www.carolinacalicos.com/
(Look under 'cotton')

Class Act has a natural/cream linen stripe, again is 1/2".
http://www.classactfabrics.com/linen/linen_fabric.htm
(Go all the way to the bottom of the linen page)

This one is totally not your color choices, but I find it interesting nonetheless:
http://www.fashionfabricsonline.com/home/catalog_itemdetail.cfm?ItmID=I883
Depending on the rest of the outfit it could look great.

HTH-
::Linda::

 You can't always judge by appearances: 
the early bird may have been up all night.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of
seamstrix@juno.com
Sent: Tuesday, December 02, 2003 12:15 AM
To: h-costume@indra.com
Subject: [h-cost] Desperately Seeking Fabric

For anyone who knows me, that's a funny statement. However, in spite of
several dozen tubs of fabric in my garage, I don't have the one kind of
fabric I need to finish a project. I am looking for a slightly rough
cotton (either 45" or 60", I'm not fussy) with a white and either black,
dark green, grey, or maroon stripe, preferably about an inch wide. It
seems that stripes are not the current fashion because I've been looking
for fabric of that description for several months and have not been able
to find it. The fabric will make an underskirt for an American Colonial
Middle-class outfit. I've considered other patterns of fabric (oh, did I
mention I'd prefer it to be a woven stripe, but at this point I'll
settle?), but nothing else meets my vision. I've been to JoAnn's,
Hancock, and the local quilting shop, and there's nothing even close.
I've surfed all the Web fabric stores I know (including Fabric.com which
is normally great) and nada. Can anyone point me in the direction of
about 4 yards of cotton with 1 inch stripes? I'd be eternally grateful.



Karen

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Subject: Re: [h-cost] Master and Commander costumes
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In a message dated 12/2/2003 12:02:01 AM Eastern Standard Time, dawn@reddawn.net writes:

> Speaking of naval novels, movies and costumes, there are two new 
> episodes of Horatio Hornblower that are out, one of which 
> airs Tuesday 
> evening, so check your listings for A&E channel.

Wow, Ioan Gruffudd's been a busy guy!

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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A plinth?

-C.

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I'm sorry.....all this time I thought you were doing an 1840's gown.



It is getting a bit of a mixture.
I didn't like the 1839-45 gown from Janet Arnold 1
But I like the gown of 1861 from Janet Arnold 2
Since I need a bit of a pattern to work from I thought that this one 
looks closer to the dres I like.
http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG
And she drawed a picture from the inside where I can see the construction.
That helpes a lot to someone who never done this period and only have 
these two books and the pictures that I could find on the internet.
I was thinking of making the waistline strait at the back and sow the 
skirt on in cartridge pleats.
But I could make it as a 1861 gown since that is also Dickens.
But then I would have to make the right hoopskirt ore use my 16th 
century one and make it look more like 1860...
I'll think I see what happens just one stap at a time....

Greetings,
        Deredere



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Date: Tue, 2 Dec 2003 07:38:11 -0500 (EST)
From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] Desperately Seeking Fabric
To: Historical Costume <h-costume@indra.com>
In-Reply-To: <20031201.231443.-455619.0.Seamstrix@juno.com>
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Hiya Karen,

  You might try Osgood's (www.osgoodtextile.com) in Springfield, MA. You 
have to email them your request, but as I"ve been in their store, I can 
say that if your fabric exists, they'd have it.

  Kate


On Mon, 1 Dec 2003 seamstrix@juno.com wrote:

> For anyone who knows me, that's a funny statement. However, in spite of
> several dozen tubs of fabric in my garage, I don't have the one kind of
> fabric I need to finish a project. I am looking for a slightly rough
> cotton (either 45" or 60", I'm not fussy) with a white and either black,
> dark green, grey, or maroon stripe, preferably about an inch wide. It
> seems that stripes are not the current fashion because I've been looking
> for fabric of that description for several months and have not been able
> to find it. The fabric will make an underskirt for an American Colonial
> Middle-class outfit. I've considered other patterns of fabric (oh, did I
> mention I'd prefer it to be a woven stripe, but at this point I'll
> settle?), but nothing else meets my vision. I've been to JoAnn's,
> Hancock, and the local quilting shop, and there's nothing even close.
> I've surfed all the Web fabric stores I know (including Fabric.com which
> is normally great) and nada. Can anyone point me in the direction of
> about 4 yards of cotton with 1 inch stripes? I'd be eternally grateful.
> 
> 
> 
> Karen
> 
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
> Surf the web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
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Date: Tue, 2 Dec 2003 07:56:21 -0500 (EST)
From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] 12th c. bust support
To: Historical Costume <h-costume@indra.com>
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Oh. My. Goodness.

I had no idea that my question would spark such a discussion! But then, 
I"m still new to costuming and costume lists...

Yes, my original question revolved more around the historical aspects 
than how to stuff a modern figure into a 12th cent. dress and make it 
look historically accurate. I am a larger busted woman (not fat anymore, 
thank goodness, I'm actually smaller 'upstairs' than I used to be!) and 
have always drooped. I developed a bust in, oh, about 6 months and didn't 
get a bra until I was a b cup. Results: stretch marks (from 14 years of 
age) and droop galore. Now I'm 36DDD Naturally, I tend to assume that that 
would be 
normal for anyone else who developed like me. And also lends quite a lot 
to my interest in bust support throughout the ages. (My corset collection 
is growing...)
  I do realise that the shape of women has changed (probably) due to 
lifestyle etc from the 12th century! And that women were naturally more 
muscular than nowadays becuase of having to do more physical labour. But, 
then there's the genetic thing. I have pictures of my great great 
grandmother, her husband, sisters, etc out on the farm ploughing the 
fields, cutting the hay with a scythe (she and her husband would have 
nothing to do with tractors and other 'modern' impliments!). And *she* 
was quite well endowed, as were her sisters. So, of course, I wonder 
about all those 12th century women who were also genetically well endowed...

  I did see something on the internet about women binding their breasts 
and thanks for all the other info! What did they bind them with? 
Obviously, ace bandages hadn't been invented yet.

  Once again, thanks for all the info! I'm sure I'll come up with more 
questions soon...

  Kate Ussailis

  ceu@shaysnet.com



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Subject: Re: [h-cost] 12th c. bust support
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> I developed a bust in, oh, about 6 months and didn't
get a bra until I was a b cup. Results: stretch marks (from 14 years of
age) and droop galore. Now I'm 36DDD Naturally, I tend to assume that that
would be
normal for anyone else who developed like me.

Development in earlier periods tends to be slower, maturation and full adult
height would appear to be reached much later than now.

As I remember I was pretty quick developing, but didn't droop or get strech
marks and I'm currently about 44 and was 38 at smallest ever adult bust

>But,
then there's the genetic thing. I have pictures of my great great
grandmother, her husband, sisters, etc out on the farm ploughing the
fields, cutting the hay with a scythe (she and her husband would have
nothing to do with tractors and other 'modern' impliments!). And *she*
was quite well endowed, as were her sisters. So, of course, I wonder
about all those 12th century women who were also genetically well endowed

Agreed and the better endowed were possibily more common than the less if
sexual selection continued as previously.

Again I would say that maybe they were just used to no restrictions, so many
might not bind, after all restricted boobs are no use for feeding, which
they would do for extended period (2 years or so)

Mel

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From h-costume-bounces@indra.com  Tue Dec  2 08:40:32 2003
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From: "Ulrike Mehringer" <ulrike.mehringer@ub.uni-tuebingen.de>
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Subject: Re: [h-cost] German book on medieval dress and textiles
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Sorry, that it took so long:

Mechthild Mueller: Die Kleidung nach Quellen des fruehen Mittelalters. 
Textilien und Mode von Karl dem Grossen bis Heinrich III. - 
Berlin ; New York : de Gruyter, 2003. - X, 337 S. : Ill.
ISBN 3-11-017219-4

The author compares literary sources, pictural sources and results of 
archeological research for the period 800 - 1050, or tries to make 
these three things tally. There are 20 plates with about 4 pictures 
(but small) each at the end of the book. Many literary sources 
(primary and secondary); short, but interesting glossary of period 
latin textile terms; a wide range of themes is covered: garments of 
men, women, children, newborn, special occasions, tunikas, textile 
techniques, and most of all clerical and monks garments.

All in all it's a research work and - in german.
I think, it's really interesting, and I hope I'll find the time to 
read it.
Hope this helps.

Ulrike
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Yeah, I'll go with silk if I can't find the wool (doesn't that sound
funny? <g>), but I was really intrigued by the glazed wool in some of my
books.  It's definitely one of those "one of these years" projects!
--sue

AnnBWass@aol.com wrote:
> 
> In a message dated 12/1/2003 10:10:04 PM Eastern Standard Time,
> mooncat@in-tch.com writes:
> sue, who wants to quilt herself an 18th c. petticoat one of these
> days, if she can find the right fabric (glazed wool, anyone???)
> You can also use silk--much easier to find.  You could probably find a
> suitable wool from Scalamandre, though, if you were willing to pay the price.
> Ann Wass
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Subject: Re: [h-cost] Tudor dresses/cartridge pleats
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Hey there...   In short,  yes some areas were cartridge pleating at this 
time,  Notably some parts of Italy (Venice, Firenze, Florence, Sienna, etc. 
)   but not England.   The aesthetic in clothing is very different.   Now 
When you say Tudor I'm thinking  England under Henry VIII.   Is that 
correct?   Under Mary there was a heavy influence of Spain on fashion in 
the court - thanks to Philip,  but still no cartridge pleating on the skirt.

So...  for accuracy you want a smooth line at the waist flaring to the 
hem.   Support for the skirts in England was by petticoat in the days of 
Henry and Edward.  With the Spanish influence of Mary's court that is where 
the beginnings of the stiffened petticoat makes it's appearance... (I 
think) and then on to the farthingale with EI.   The addition of the 
bumroll came with the elongation of the front of the stomacher  under 
EI,  to create the 'flat in front' followed by an arc of skirt  illusion.

If I have time I'll try to pull some images together...  but I will 
recommend a stop at the National Portrait Gallery of England.
Good luck.
Bridgette


>A question about Tudor dresses (1540s about). I have a pattern that shows 
>using a gores using 4 gores for the skirt pattern. The question is when 
>did cartridge pleating come into being? Could I cartridge pleat the skirt 
>to have a fuller skirt and then attach the bodice?
>Were the skirts supported by any type of hoops in the 1540s and were 
>bumrolls used? Still trying to figure just how to put this all together.
>Many thanks
>Ysandra
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Subject: Re: Viking dress from historiska.se, was Re: [h-cost]
	wondering
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Ingrid replied to my post:
> 
>> I thought about box-shaped, but wasn't sure if that made sense for
the >> shape. Thanks for clearing that up! "likarmade" definitely means

>> "having similar arms"; I guess I was looking for one word and came
>>up  short. :)

and Lee replied:

>They're talking about a cruciform shape, yes?  Equal-armed cross is
the
>term I've seen used most often in english.  

Well, no, if you click on "likarmade" it brings up illustrations of
clasps made of two halves in mirror-image.


Kate Bunting
Library, University of Derby
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Desperately Seeking Fabric
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(Waving at Karen from SC--Hi Karen!)

Try
http://www.designerfabrics.ca in their "Printed Stripes" section.  I saw 
a couple of things that aren't exactly right, but that you might be 
willing to settle for if nothing else.  And I didn't finish looking 
because there was so much.

You might also call Mary Jo's in Gastonia, NC
http://www.maryjosclothstore46.webyp.net/
They don't have a big web presence, but from what I hear, they have 
EVERYTHING.

Then there's Ninety-Six District Storehouse (so called because it was 
originally in Ninety-Six, SC).  They have a "re-enactor's room" that 
caters to SCA, Rev War, and Civil War folks, and they're very nice. 
864-366-9600

Good luck!
Melanie Schuessler


http://www.faucet.net/costume
http://www.coastal.edu/theater

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Burgundian/ Fabrics/ Colours
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Catalina Sanabria Rosado wrote:
>   My next project will probably be a foray into a type
> of Burgundian. . .  What are
> your favorite online illustrations?

Here are some:
http://www.uvm.edu/~hag/sca/15th/

- Hope

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To: Historical Costume <h-costume@indra.com>
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> mmcnealy@att.net wrote:
>> Thanks for the great text! ;) But I still want to know, How did a monk 
>> know what women wore underneath their gowns?
>Cynthia Virtue wrote:
> Maybe he had a sister.

Or a wife. Although married monks were certainly much rarer than married 
priests and other clergy. Even Bishops were married, which caused some 
problems as feudalistic tendancies became the norm, that is, the tying 
of land and inheritance to service. There were many questions about 
whether the children of married clergy should or could inherit the 
offices and property originally granted to the Church, and several 
diatribes against wives who decked themselves infine clothes and jewels 
with funds from the Church's coffers. The legitimacy of clerical 
marriage became quite a battle in the 11th century under Gregory VII and 
was finally legislated against by the Second Lateran Council of 1139. 
Before that, clerical marriage may have been the norm. After that it was 
still not unheard of, though it bacame more rare.

Interesting book on the subject:
Barstow, Anne Llewellyn. Married Priests and the Reforming Papacy: The 
Eleventh - Century Debates. New York: The Edwin Mellen Press, 1982.

- Hope

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Subject: Re: [h-cost] Pleated berhte 1845 dress
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In a message dated 12/2/2003 4:49:06 AM Eastern Standard Time, 
triade@kabelfoon.nl writes:

> But I like the gown of 1861 from Janet Arnold 2
> 

Fair enough. It does look like the illustration you like. I would "warn" you 
that details like the back point would not bee seen in 1840s...or the little 
"notch" at the top of the side back piece. And the sleeves are a bit poofy. In 
fact, the Winterhalter looks more 1860s than 1845 and I wondered about the 
accuracy of the date of the illustration.

But I don't mean to discourage you in any way or put your project down. You 
seem to be having fun and you will of course be beautiful.
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I was at JoAnn's Saturday with the big 99 cent per pattern on Butterick and
McCall's patterns and all Vogue $3.99 each. The new Spring Preview Butterick
Pattern catalog was just out and I snagged three new "Making History"
patterns. They are all supposed to be circa 1914 patterns. B4091 is a V-neck
vest type "basque" blouse with four collar variations. B4092 is a narrow
"basque" skirt with four variations, and B4093 is a tunic gown and girdle
which can be a wedding or dressy dress. The girdle sits on the hips, rather
than higher up, which I will alter as I plan to make this easy fitting
ensemble for my niece's wedding and I'm short and long-waisted anyway, a low
waist doesn't suit me. While I've seen plenty of fashion plates and
illustrations from 1914 and some do have a low waist, especially from the
Parisian fashion houses, there are more examples of waistlines variations
from high to normal waist, more still tending to a raised waistline,
although many fashions show sashes and design treatments swathing or
focusing most of the torso from underbust to hips. Kudos to Butterrick for
covering this short era of fashion.

Also, for the guys, there is a circa 1914 smoking jacket.

Cindy Abel

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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tudor dresses/cartridge pleats
Date: Tue, 02 Dec 2003 16:05:38 +0000
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Bridgette wrote:
> So...  for accuracy you want a smooth line at the waist flaring to the 
> hem.   Support for the skirts in England was by petticoat in the days of 
> Henry and Edward.  With the Spanish influence of Mary's court that is where 
> the beginnings of the stiffened petticoat makes it's appearance... (I 
> think) and then on to the farthingale with EI.   The addition of the 
> bumroll came with the elongation of the front of the stomacher  under 
> EI,  to create the 'flat in front' followed by an arc of skirt  illusion.

I posit that what happens later in period is that the french farthingale is 
introduced (which is not the same as a bumroll). Ashelford talks about half 
[french] farthingales in her Visual History of 16th Century costume book. 
QEWU also talk about rolles of cotton in the french gowns and later about the 
French farthingales that had to be continually altered to keep up with the 
changing times. I don't believe that the spanish farthingale was ever worn 
with a french farthingale.

Just had a thought. I wonder if the half farthingale is the same shape as the 
bumrolls we wear today. That would explain alot and clear up that big debate. 
I don't remember a description of the shape of the half [french] farthingale 
being discussed in QEWU unfortunately. I'll look again when I get home unless 
someone else has access to the book sooner and can answer the question.

Sarafina

--------------------------------------------------
The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net
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Subject: Re: [h-cost] Pleated berhte 1845 dress
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Does a 1860 gown always has a point at the back waist of the bodice?
Or can it be without?
Then I'll just make it 1860 :-)

AlbertCat@aol.com wrote:

>In a message dated 12/2/2003 4:49:06 AM Eastern Standard Time, 
>triade@kabelfoon.nl writes:
>
>  
>
>>But I like the gown of 1861 from Janet Arnold 2
>>
>>    
>>
>
>Fair enough. It does look like the illustration you like. I would "warn" you 
>that details like the back point would not bee seen in 1840s...or the little 
>"notch" at the top of the side back piece. And the sleeves are a bit poofy. In 
>fact, the Winterhalter looks more 1860s than 1845 and I wondered about the 
>accuracy of the date of the illustration.
>
>But I don't mean to discourage you in any way or put your project down. You 
>seem to be having fun and you will of course be beautiful.
>_______________________________________________
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>  
>

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Subject: Re: [h-cost] Pleated berhte 1845 dress
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In a message dated 12/2/2003 11:56:06 AM Eastern Standard Time, 
triade@kabelfoon.nl writes:

> Does a 1860 gown always has a point at the back waist of the bodice?
> 

I think...not sure...but only ball gowns have back points. And some are as 
deep as the front point. I know Past Patterns has an 1860s ball gown bodice 
pattern with a deep back point. [It's a lovely pattern too even if it has yucky 
sleeves]

Were I making the typical 1840s dress the bodice would not have a back point. 
It would have a wide low neckline, long tight sleeves [unless a ball gown], a 
deep CF point, and the front pieces would be on the bias with 2 darts either 
side of a CF seam. And the skirt would be gathered or cartridge pleated into 
the waist.

You realize you'll have to wear a hoop under your 1860 ball gown. Only a ball 
gown in 1860s would have a low neck and short sleeves.

Now what was your activity in this gown? Weren't you making lace? Or was that 
someone else? Don't stray too far from your character.

Y'know, if you nixed the back point and put long curving 2 piece sleeves in 
this gown it would be fine for 1840s and you could wear it with just 
petticoats. Just hand baste the sleeves in and you can change them to the short poofy 
ones later. Then you can wear it to Civil War parties...  

:-P
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>   I did see something on the internet about women binding their
>   breasts 
> and thanks for all the other info! What did they bind them with?
> Obviously, ace bandages hadn't been invented yet.

Although I can't be sure, I suspect they used strips of linen. Heaven 
only knows that's what my mom used in the 1920's to try to get her DD 
breasts to look flat in the flapper era clothes. ;)

Kat
<kat@redtrollforge.com>


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> > And body fat content does
> have an influence on bust size.
> 
> To some extent but not nearly as much as genetic disposition. Humans
> have a very odd fat storage system and ability to be much fatter than
> other animals without many harmful effects...

That's true to a certain extent, but people with large breasts will 
usually end up with much smaller ones when they lose body fat. Once 
you drop below about a certain percentage of body fat, the breasts 
can reduce pretty quickly.

Hormones can also have a big effect. And they are strongly affected 
by things like multiple pregnancies, famine, illness, etc.

One of the things that really cuts down on breast size is a 
combination of low estrogen and low body fat. It's one of the reasons 
why so many female weight lifters need to have breast implants to 
have a bust. They may have started out with large breasts but once 
they have lost the body fat they not only often quit having periods 
they also end up with fried egg breasts. (This is part of that 
previous topic about birth control, breastfeeding and the like in the 
middle ages.)

> How many extant 12C female garments are there ? Most if not all I'd
> guess are fairly high status and cannot possibily match the number of
> skellies avaliable for any given period due to their less durable
> nature.

In terms of garments which are dated by methods more precise than 
carbon 14 dating (which isn't accurate to being within a few 
centuries when it comes to clothing), very few. If you are lucky you 
find some used as caulking in ships (which would definitely not be 
high class) or from ecclesiastic collections (which have nothing to 
do with what women would have been wearing.)

> Men & women fatten quite differently and women would carry a fair
> amount of fat as they are hard wired to try to do so if at all
> possible (ie if they are not starving) Which is one reason for over
> indulgance evolution has not yet given humans on off switch when
> enough fat has been eaten. Which in evolutionary terms suggest,
> getting enough fat is important and desirable. Fat previously in many
> social situation was desirable as a wealth indicator

And some have more genetics for getting fat on very little than 
others. Most from Europe actually don't tend to get as fat as from, 
for example, SW USA. The more often a society was chronically starved 
(such as in hunter-gatherer societies vs agrarian societies), the 
more likely it is that they will have problems with overweight in 
even a normal eating situation. (The Pima tribe for instance.) Even 
though Europe had periods of starvation, these were generally not for 
generation after generation like the Pimas had to endure. (And to 
stave off some questions, the Pimas had some agriculture, but it was 
in very poor soil and often had to be transported from long 
distances.)

Kat
<kat@redtrollforge.com>


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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Tue, 02 Dec 2003 10:54:35 -0800
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Subject: Re: [h-cost] 12th c. bust support
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> But think of the evolutionary evidence for big busts. It is clear lots
> of boob is not necessary for feeding children, but it has been
> sexually selected for 100s of thousands of years (Stone age statues
> etc etc)

But not necessary to be large breasted. Many of the statues from 
stone age that I can think of tend to be mostly nipple or the woman 
is obviously pregnant or obese. And some of the others (such as some 
of the Asian/Indian ones) tend to have rather a bit of exaggerated 
curves as well as big breasts, which to me indicates that they 
weren't just big breasted.

Then you have things like the Cretan snake women where the breasts 
are rather prominent. But they are also medium sized and quite perky.

And lots of boob actually can create major problems for 
breastfeeding. I've seen many infants who could barely breathe when 
they breastfed because of the endowment of their mums. Even pushing 
down on the upper part of the breast so that the baby's nose is clear 
doesn't always help enough. (And since babies are obligate nose 
breathers, this can be really problematic.) Mums who are medium or 
small endowed have far fewer problems with breastfeeding in this way. 
(I've never breastfed, but I've helped 100s of breastfeeding moms 
since I became a pediatrician.)

Kat
<kat@redtrollforge.com>


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> If you look at this portrait of Jane Seymour, you can see that the
> grain of her lining of the outer sleeve lies on the straight grain.
> http://www.marileecody.com/seymour1.jpg . 

You really have no idea of the grainline based on that portrait. The 
sleeve lining is completely covered by embroidery in a pattern that 
might or might not have been running parallel to the grainline.

Also, if you find a copy of
> the whitehall portrait which was painted after Jane's death, the grain
> of the ermine lining is on the straight also. Alot of the linings for
> this type of sleeve were fur (at least in the surviving portraiture)
> and the joins in the fabric are easily hidden by a skilled furrier.
> This makes hide width unimportant because the furrier would create
> whatever size piece was needed. Other linings appear to made from
> velvet. I cannot explain why joins in velvet would not be portrayed
> other than to say that perhaps the artists left them out.

Artists can certainly leave them out. But I've found in photographs 
that my turnback sleeves of velvet don't show the joins that I can 
assure you are there.

> I cut two sleeves out with the same shape; one with the grain on the
> bias and one with the grain on the straight. I did not use Hunnisett's
> pattern for the top of the sleeve. I adjusted the shape to one used in
> period. [That is to say that the grain of the sleeve is on the
> straight. The seams are diagonal. I put the seam on the back of the
> arm like in a modern suit jacket, rather than under the arm against
> the body in a typical button up modern shirt.] The one that I cut on
> the straight hangs very nicely and looks like the portraits. The one
> cut on the bias also looked nice, but not quite the same as the
> portraits.

Odd, because I've done exactly the same thing with using Hunnisett's 
sleeves unchanged and had them look exactly like the portrait, yet 
not hanging quite right when done the other way. YMMV I guess.

Kat
<kat@redtrollforge.com>


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>Then you have things like the Cretan snake women where the breasts 
>are rather prominent. But they are also medium sized and quite perky.
>
>  
>
I have, somewhere, an article on an archaeologist's reconstruction of the ancient Cretan women's costume; her research, the process, and photos of the completed garments.  This of course was a reconstruction. But, if I recall it correctly, comparison with the ancient artworks was interesting, with the ancient pictures coming off like idealizations. As list members will probably recall, the outfits in the ancient art would have looked great around 1880--if the bare bosoms had been covered up.  They have wasp waists, and altogether look as if Cretan women were wearing corsets.  The reconstruction, on the other hand, was based on the type of rectangular cuts known to have been used in ancient societies. It was distinctly less tight than the old art.  The breasts were sufficently displayed by an open jacket to look indecent on a modern street.  But they were not pushing up out of it, and did not look "perky."

Fran


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Subject: [h-cost] Re: Dickens /Christmas/ Costuming
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> 
> From: Carolyn Kayta Barrows <kayta@frys.com>
> Subject: Re: [h-cost] Dickens /Christmas/ Costuming
> 
> We had plenty of 'Old Timey' at Dickens' the first weekend - we
> always 
> do.  There were also some really nice outfits.  The costume contest
> had six 
> or seven entries both days.
> 
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
> 
> 

My daughter and my friend's daughter were both invited to participate
in the costume contest on Saturday.  My daughter was wearing a
lavendar & off-white bustled gown (c. 1870), which I've been working
on for weeks -- it wasn't complete, but done enough for her to wear. 


<rant> What is it about teenagers that they never seem to stop
growing for one minute?!?!?  I made 2 muslins, the second I used for
the bodice lining.  Then I cut the outer fabric.  I test fitted it on
her over and over.  Yet, when I attached the lining to the fabric and
turned it all right side out, it was too small!!  And, of course, I
had already trimmed the seams, so I couldn't let them out anymore.
Sigh...  </rant>

Back to the costume contest -- the woman who won on Saturday was
wearing the most beautiful 1840s dress, perfect down to the print of
the fabric (at least, to my untrained eye).

~Mary


=====
"Right now I'm having amnesia and deja vu at the same time.  I think I've forgotten this before."     ~ Steven Wright
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Date: Tue, 02 Dec 2003 11:47:33 -0800
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Subject: Re: [h-cost] Tudor dresses/cartridge pleats
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> A question about Tudor dresses (1540s about). I have a pattern that
> shows using a gores using 4 gores for the skirt pattern. The question
> is when did cartridge pleating come into being? Could I cartridge
> pleat the skirt to have a fuller skirt and then attach the bodice?
> Were the skirts supported by any type of hoops in the 1540s and were
> bumrolls used? Still trying to figure just how to put this all
> together. Many thanks Ysandra

Cartridge pleating is first seen in the 12th century (on a man's 
gardecorp sleeve). It is very popular in many places, especially in 
Germany and Italy.

If you use cartridge pleating in a 1540's Tudor you'd only put it in 
the very back, as it was smooth or knife pleated (or a combination of 
both) along the sides. You can see an excellent example of this in 
the Holbein drawing of an "unknown English lady" which is c.1535 and 
shows both a front and back view. You can also see it in back views 
in tapestries. (Unfortunately, there are no side views which show the 
transitions. Even if the woman is in "side view" she's got her arms 
in the way of seeing the join of the skirt!)

There is a lot of controversy about the use of hoops in England prior 
to 1550. Some people are firmly in the camp of "no hoops until at 
least 1545" and that only multiple petticoats were use. Others feel 
that hoops came with Katherine of Aragon (although there are a lot of 
letters and the like that indicate that Katherine stopped wearing all 
the Spanish styles including the hoop when she became queen.)

Many of the Holbein drawings show dresses which would clearly be 
petticoats, not hoops. Later paintings (such as the one supposedly of 
Jane Grey/Dudley from c1545) have a shape which look like they must 
have had a hoop to get the bottom of the skirt to hang the way it 
does.

The English (as opposed to Spanish) inventories I've been able to 
find up to Mary I do not record vertingales, farthingales or any of 
the names which such hoops go by in England. They have plenty of 
"foreparts for a kirtle" but Mary I's inventories are the first to 
record vertingales. (And what is interesting is that except for when 
Philip was specifically visiting, her gowns tended to be "French" 
gowns, not Spanish.)

Bumrolls are another area of controversy. Some people say that they 
were not worn with any sort of hoop, while others say that they could 
be worn with a hoop. And they don't show up in the inventories (but 
then, neither do other common things like shirts and smocks. It's 
like the things which are not made of silk, velvet or other rich 
fabric don't get mentioned very often at all.) Personally, I've found 
that the dress has far less pull on my shoulders (because it 
distributes the weight of the skirt over the hips, which petticoats 
and hoops do not do) if I use a small bumroll at the very back. It 
also helps keep the line of the back more similar to the Holbein back 
view.

Kat
<kat@redtrollforge.com>


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> Bumrolls are another area of controversy. Some people say that they
> were not worn with any sort of hoop, while others say that they could
> be worn with a hoop. And they don't show up in the inventories (but
> then, neither do other common things like shirts and smocks. It's
> like the things which are not made of silk, velvet or other rich
> fabric don't get mentioned very often at all.) Personally, I've found
> that the dress has far less pull on my shoulders (because it
> distributes the weight of the skirt over the hips, which petticoats
> and hoops do not do) if I use a small bumroll at the very back. It
> also helps keep the line of the back more similar to the Holbein back
> view.

In Elizabeth's wardrobe accounts of the 1560s & 1570s, I've come across
numerous mentions of "french" gowns (i.e., fitted bodice sewn to gathered
skirt) having both heavy wool and buckram pleated into the pleats to help
them stand out, as well as small rolls stitched to the pleats. The first
reference I've found to a roll mentioned separate from a gown is 1580.

I experimented with padding pleats in the farthingale I'm currently
making. I sandwiched a piece of buckram between two layers of thick wool,
stitched it to the back waistline of the taffeta farthingale, and
box-pleated all layers together. It took some tough stitching, but the
result is very pleasing--the back of the farthingale stands out for all
the world as if there were a small bumroll beneath it.

Drea

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From: "Sheridan & Shane" <shooie@sprint.ca>
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Subject: [h-cost] 15th C gown
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Hi all!

I really want to make myself a 15th c gown, I have been perusing all of the
appropriate art, been absorbing all the information the costume lists I am
on have to offer whenever the topic comes up, and now finally have some cool
fabric to make the gown itself. I lucked out and found some chenille drapery
fabric in dark green and gold ($8.00 a meter Cdn). The fabric itself is not
period, of course, but the pattern is nearly identical to the pattern of the
gown in this picture:
http://www.kfki.hu/%7Earthp/art/m/memling/3mature3/25more3.jpg

There are a couple of details that I need confirmation or assistance on. For
the bodice portion of the gown would I be better off with a 3 or a 4 piece
bodice? My original intent was to do a 10 gore, but I have found no evidence
that this type of garment could be cut that way, plus many of the paintings
of the period appear to have a waist seam.

The skirt I had intended on cutting like the Mary of Hungary gown:
http://www.virtue.to/articles/images/hungarian_cutting.jpg
The fabric I have is very wide, and I thought this would be the best way to
show the pattern with minimal seam lines. Any thoughts? Would I be better
off with a wedge and gore arrangement, which is what I am used to...

Tips and tricks for the sleeves? I am not very good at making my own sleeve
patterns, I always get the armscye wrong unless I use the earlier period
trick of using a small triangular gore at the top of the sleeve.

Now I am on the look out for some nice rich red fabric for the false sleeves
and the false front to pin under the front of the gown, I recently saw some
very nice cotton velvet on sale for Christmas, or perhaps I should hold out
for a nice silk?

Any comments, anecdotes or tips are greatly appreciated, this is my first
foray into this period of garment and any extra information I can get would
be fantastic!

Sheridan


*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Thought For The Day:
There is a very fine line between 'Hobby'
and 'Mental Illness'




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From: kat@grendal.rain.com
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Date: Tue, 02 Dec 2003 12:20:55 -0800
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> I have, somewhere, an article on an archaeologist's reconstruction of
> the ancient Cretan women's costume; her research, the process, and
> photos of the completed garments. 

That was from Archeology. (Someday I'll put my issues in some form of 
order or at least get them all in one place!)

 This of course was a
> reconstruction. But, if I recall it correctly, comparison with the
> ancient artworks was interesting, with the ancient pictures coming off
> like idealizations. As list members will probably recall, the outfits
> in the ancient art would have looked great around 1880--if the bare
> bosoms had been covered up.  They have wasp waists, and altogether
> look as if Cretan women were wearing corsets.  The reconstruction, on
> the other hand, was based on the type of rectangular cuts known to
> have been used in ancient societies. It was distinctly less tight than
> the old art.  The breasts were sufficently displayed by an open jacket
> to look indecent on a modern street.  But they were not pushing up out
> of it, and did not look "perky."

But that may have been due to the body of the lady who did the 
reconstruction. There are photographs from the 60s showing rather 
perky breasts in the clear vinyl clothes and I know women who have 
breasts that look just as perky (as some of us have already 
mentioned.) 

I'm also remembering a number of *very* old photographs from National 
Geographic where the young African women had breasts which would have 
looked very much like the Cretan goddess sculptures.

Kat
<kat@redtrollforge.com>


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>I'm also remembering a number of *very* old photographs from National 
>Geographic where the young African women had breasts which would have 
>looked very much like the Cretan goddess sculptures.
>
>  
>
I feel women of differing body types and weights existed in every historical era, even if from the same geographic area and even if from the same age group.  I also feel that with every cultural ideal of beauty, most people don't meet it. In a painting, maybe, but not in reality.  That's why it's an ideal. A few people will meet it and most of them will have to work at it; more will aim at the ideal and get closer to it but not meet it.

Clothing can carry many desirable messages. Including a display of wealth, social status, and familiarity with the fashions of a prestigious group.  I can't see a woman who had the wealth, etc. to wear high fashion automatically passing up the opportunity just because she was busty or heavy overall.

Fran


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 15th C gown
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On Tue, 2 Dec 2003, Sheridan & Shane wrote:

> I really want to make myself a 15th c gown, I have been perusing all
> of the appropriate art, been absorbing all the information the costume
> lists I am on have to offer whenever the topic comes up, and now
> finally have some cool fabric to make the gown itself. I lucked out
> and found some chenille drapery fabric in dark green and gold ($8.00 a
> meter Cdn). The fabric itself is not period, of course, but the
> pattern is nearly identical to the pattern of the gown in this
> picture:
> http://www.kfki.hu/%7Earthp/art/m/memling/3mature3/25more3.jpg ... Any
> comments, anecdotes or tips are greatly appreciated, this is my first
> foray into this period of garment and any extra information I can get
> would be fantastic!

Before you commit yourself, you might want to be aware that the woman in
the patterned gown is St. Barbara and not meant to be a realistic figure.
There is a very strong chance that her outfit would never have been worn
by a "real" woman and may have existed only as a costume in the artist's
studio, if that. Current fashion of this time is better represented by the
women donors lower in the picture.

Barbara's dress includes elements of several examples of older fashions,
mixed-and-matched. The fabric pattern is one you see on realistic dresses
of a few decades earlier, but those dresses were of quite different style
(usually V-necked overgowns). The element of an oversleeve pinned to a
short-sleeved laced-front fitted dress seems to have been a form of
informal wear earlier in the century, but I don't think I've seen an
example of that type of dress that included the fabric panel under the
lacing and over the bosom, which came into fashion a bit later as part of
another style.

Some more detail: The short-sleeved laced-front fitted dress with added
sleeves, which probably was real enough for informal wear in the 1430s,
became cemented in artwork starting with van der Weyden in the 1430s, who
used it on certain female religious figures.  That usage was copied by
other Flemish artists for decades thereafter. When Memling came around, he
freely picked up a lot of "standard" costume iconography from his
contemporaries and predecessors, and often jazzed it up with elements of
more current or recent fashionable dress. By the time he painted this in
the 1480s, he could easily pick up the plastron-under-lacing from another
contemporary style to "update" the traditional short-sleeved laced-front
"saint dress."

I think it's quite likely the short-sleeved fitted underdress was still
being worn in the 1480s, though probably not universally. But it would be
quite a different garment from what Memling is showing here, which has
morphed into an overlayer, thanks to the fabric choice and the addition of
the panel.

And you know, I'm sure, that the artfully draped mantle and flowing hair
are standard saintly presentation, certainly not something worn by real
women of this time.

If you want a 15th century use for that fabric, consider something a bit
earlier, such as this from 1449:

http://www.kfki.hu/~arthp/art/c/christus/2/eligius.jpg

That's on my personal wish list, and I had that image as the wallpaper on
my computer for a really long time. I've found similar black-and-gold
brocade fabric at a drapery store, but at $30/yard all I can do is gaze
fondly at the swatch I took home. :-(

 --Robin


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So don't use glazed wool, then -- use silk, or even linen! (Someone
turned up an example of a quilted linen petticoat from the PA Gazette
on the 18CWoman list a while back)

I made my quilted petticoat using regular suit-weight worsted wool
for the outermost layer, FWIW...

- Mara

--- Sue Clemenger <mooncat@in-tch.com> wrote:
> --sue, who wants to quilt herself an 18th c. petticoat one of these
> days, if she can find the right fabric (glazed wool, anyone???)


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Subject: [h-cost] Irish Embroidery
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Here is a question for Kass, but if anyone else has any ideas please pass it
on. :-)

I have nearly finished a leine (sp?) for my husband who does early Irish and
British. (400 to 700 give or take a century) Celtic knotwork not being
documentable for anything but stonework for much later periods, my question
is this:  What sort of embroidery designs would you suggest for his shirt? I
do plan on some simple stitches to outline the seamlines, but was looking
for something for the neckline and sleeves. Any suggestions?


Sheridan

*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Getting an education was a bit like a communicable sexual disease.
It made you unsuitable for a lot of jobs and then you had the urge to pass
it on.

Terry Pratchett





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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Wool Vendor
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Status: RO

And another question about ebay/en5001's wool:
Does anyone know what the weave of his wool gabardine actually is? Is it 
a standard twill or one of those weird modern "tricotine" types that 
look like twill on one side but not at all twillish on the other? And 
how much does it full/fluff when washed?

Thanks!

- Hope (who is always one the lookout for reasonably priced gown-weight 
wool with a decent pre-1500-type weave)


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> Well, no, if you click on "likarmade" it brings up illustrations of
> clasps made of two halves in mirror-image.

Then "symmetrical" or "mirrored" are probably the right translations.

--Lee

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To: h-costume@indra.com
From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: Re: [h-cost] 12th c. bust support
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Kat wrote:

>I'm with you! I rarely wore a bra, mostly because I couldn't find
>ones that fit around my ribcage (I'm at my largest I've ever been and
>still only need a size 32" band size...

To which Cathy Raymond responded:

>I can find bras in ordinary stores in 32A; Victoria's Secret also carries
>them. (I'm wearing a VS model as I type this, in fact).  It's just a bit
>harder to find them because stores stock fewer bras in small sizes....

Most of my college years, I was a 34D or a 32DD. I'm pretty sure I *used* 
to see band sizes going down to 30". I found I could get very good deals -- 
*and* in my size -- at (the original) Filene's Basement. You can still find 
the "off combos" (narrow and deep; wide and shallow) really cheaply in a 
lot of the job-lot and discount type places; many of them are name brands 
-- even imported designer brands -- and in all sorts of styles.

In a subsequent message, Kat wrote:

>The 28s and 30s are still nonexistant (just like the G cup bras.)You can 
>usually find As, Bs
>and Cs nowadays (mostly at Nordstroms and Victoria Secret) but finding the 
>Ds and DDs
>is still *very* difficult. (Especially the DDs. Forget anything larger.) 
>And they are usually
>in the more ugly (to me) styles (like the ones with really heavy, scratchy 
>stretch
>lace on the sides. Ugh.) If I'm lucky they have one in my size (either 
>because they didn't
>get more in than that or because they've already sold it to someone else.)
>And finding them in other stores is still pretty impossible.

Try the job-lot and overstock places:  those are the sizes that the 
manufacturers and stores generally can't sell, so that's where they end up.


Back to Kat's earlier message:

>...However, I noticed (while watching Starship Troopers when it first
>came to the movie theatres) that most 24 year olds had far more droop
>than I did at more than double that age. I'm within a few months of
>50, with a DD cup size and I droop very little.

to which Dianne noted:

>And then there are those of us with a relatively small bust, who have had
>droop since we had a bust! Mine were NEVER perky. They have pointed at my
>knees since there was anything there to point at anything.

and Sue Clemenger added:

>And there's folks like me, now quite large (sigh), but always
>big-busted.  I went from completely flat to a really generous C cup in
>about 6 months.  The girls never had a chance to be perky.  They
>certainly don't now.

I'm with Dianne and Sue. I failed the "pencil test" from the very 
beginning... at least since back when I was an "A" cup in 6th Grade. I was 
to the point where I'd wear bras to sleep because I felt I was flopping 
around _that_ much. (BTW, I "grew" pretty quickly:  I went from trainer 
bras at age 10 to a D cup at age 14 or 15, and have never been "smaller" 
than that...)

Kat continued:

>So, I firmly believe that Coopers Droop is a myth perpetrated to get
>women to wear bras. Either that or I've been extremely lucky over the
>years.

I think either (1) the latter or (2) it depends on genetics or (3) it 
depends on overall fitness level, etc.

Sue continued:

>...the only times I've [been "perky"] in my adult life have been in a Gothic
>Fitted Gown prototype, and in an Elizabethan corset (with a really snug
>ItalianRen coming close)...

I've found Goddess style 589/590 will do it nicely, even if you wear it 
strapless :) Also, I purchased a Victorian-style corset (I think designed 
for something around 1840's?) at a ren faire some years ago, which also 
"presented" me properly...

>...I recently had a heck of a time figuring out how to do a decent 
>square-necked
>shift for my 16th c. Flemish outfit, but once I did, I was quite pleased 
>with the results...

This sounds interesting:  what did you do to adapt it?


Brenda
webwarren@earthlink.net


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----- Original Message ----- 
From: "Brenda Bell" <webwarren@earthlink.net>
To: <h-costume@indra.com>
Sent: Tuesday, December 02, 2003 5:11 PM
Subject: Re: Re: [h-cost] 12th c. bust support


>-- at (the original) Filene's Basement.
> Brenda

*sigh* Filene's basement.... how I miss checking those dates.... the
bargains galore...... It was one of the few things that made cleaning ice
off of my car worth the effort. *sigh*

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>But not necessary to be large breasted. Many of the statues from
stone age that I can think of tend to be mostly nipple or the woman
is obviously pregnant or obese.

I can't actually think of any slim line early staues so if you can points
these out & pics on the web I'd be interested. I'm not really sure what you
mean by mostly nipple ?

The typical profile to me is big boobs, big tum & big bum very little
variation on it hence the mother/fertility associations postulated

>And some of the others (such as some
of the Asian/Indian ones) tend to have rather a bit of exaggerated
curves as well as big breasts, which to me indicates that they
weren't just big breasted.

Asian body forms (although I'm no expert) seem to be inherently smaller in
the curves dep, I seem to recall their ability to digest and live on starch
also differs, so it could perhaps be argued the form evolutionary wise
differs, But I think that route distracts as we are talking European 12th C
I believe ?

>And lots of boob actually can create major problems for
breastfeeding.

I haven't observed lots of women, so I can only speak from my own experiance
here, but when I'm feeding my boobs although bigger are firmer as they are
full of milk, fatty boobs would seem on face value to be a bigger potention
suffacator.

Also in the US is it possible the greater intermix of racial types changes
the specifics in ways which would show to a much leser extent in a more
confined gene pool ?

 >Mums who are medium or
small endowed have far fewer problems with breastfeeding in this way.


Again I'd have to guess these are in the main bra wearing, largly inactive
women as opposed to active, big breasted women with less fat ?

Mel

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>That's true to a certain extent, but people with large breasts will
usually end up with much smaller ones when they lose body fat.

Inevitabily to a certain extent, but however slim I've been (even too thin
at one time) my boobs have been bigger than the average for my size

Observations of others tends to bear this out to

 >Once
you drop below about a certain percentage of body fat, the breasts
can reduce pretty quickly.

If you body is starving yep it uses what it has !

>One of the things that really cuts down on breast size is a
combination of low estrogen and low body fat.

Which happens in old age when the profile of males & females get closer and
fat tends to collect around the middle in both cases

>It's one of the reasons
why so many female weight lifters need to have breast implants to
have a bust. They may have started out with large breasts but once
they have lost the body fat they not only often quit having periods
they also end up with fried egg breasts.

But these women are not fertile and therefore would not bred one if they
maintain that state, thus in the past would not contribute to the gene pool.
weight lifting or excersise to that extent IMHO is not fit (as in the
biological sense)

>some have more genetics for getting fat on very little than
others. Most from Europe actually don't tend to get as fat as from,
for example, SW USA.

And SW USA genotype is what ?

To be frank I thought most US people got fatter due to the earlier
introduction of processed and fast food
As I child I remember visiting and there were far more fat people than in
the UK, these days we are facing a general problem here which is resulting
in advertising bans on kids foodstuffs possible soon.


> The more often a society was chronically starved
(such as in hunter-gatherer societies vs agrarian societies), the
more likely it is that they will have problems with overweight in
even a normal eating situation. (The Pima tribe for instance.)

You are suggesting hg are more often starved than agrarians ? In the
Americas ? Because not all evidence suggests this, in fact the opposite in
some cases, when looking sketally.

Although those with less access to fat (like hg v dairy farmers) fattening
easier makes sense

Mel
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From: ladysarafina@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] early tudor undersleeves question
Date: Tue, 02 Dec 2003 23:01:58 +0000
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Would it make sense for then to embroider on the bias? Also, at least based 
on the spanish tailor's book, the sleeves were cut on the straight. Is it 
logical to extrapolate that generally pattern pieces are cut on the straight?

The other question I have is why did Hunnisett choose to orient the pattern 
this way? Since both we both have had good results using different layouts, 
perhaps the secret lies in the pattern shape and is not affected as much by 
the grain.

--
The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net
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From: "Ron Carnegie" <r.carnegie@verizon.net>
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Subject: RE: [h-cost] RE: Ecclesiastical Clothing
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Hello All


   I am looking for information regarding the construction of 18th century
Anglican Cassocks.  The programs I want it for are set in 1737 and 1774.  I
suspect that there is little alteration in the garment throughout that
period, but would like to know also if that is true or not.

   What I am specifically looking for is locations where I may attempt to
get photographs of extant garments.  I need documentation to proceed with my
project, but the easist documentation to find are portraits and othe art.
These always show either a  scholastic robe, or surplice over the cossack,
therefore hiding the details that I need.  If someone does know of artwork
that shows an Anglican priest wearing a Cassock with nothing over it that
would help as well.

	I realize that these are tall orders, and any help would be appreciated.

Cheers,


"I'm your huckleberry"

Ron Carnegie
r.carnegie@verizon.net

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From: kat@grendal.rain.com
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Date: Tue, 02 Dec 2003 15:17:42 -0800
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> I experimented with padding pleats in the farthingale I'm currently
> making. I sandwiched a piece of buckram between two layers of thick
> wool, stitched it to the back waistline of the taffeta farthingale,
> and box-pleated all layers together. It took some tough stitching, but
> the result is very pleasing--the back of the farthingale stands out
> for all the world as if there were a small bumroll beneath it.

Does it help take the strain off the back that having a separate 
small bumroll does? 

Shoot, mine end up padded something like this anyway just to get the 
pleats big enough. But without that little waist attached separate 
bum roll the weight is still on my back rather than around my waist.

Kat
<kat@redtrollforge.com>


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Date: Tue, 02 Dec 2003 15:22:45 -0800
Subject: Re: [h-cost] early tudor undersleeves question
From: Lynn Downward <LDownward@chori.org>
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On 12/2/03 3:01 PM, "ladysarafina@att.net" <ladysarafina@att.net> wrote:

> Would it make sense for then to embroider on the bias? Also, at least based
> on the spanish tailor's book, the sleeves were cut on the straight. Is it
> logical to extrapolate that generally pattern pieces are cut on the straight?
> 
> The other question I have is why did Hunnisett choose to orient the pattern
> this way? Since both we both have had good results using different layouts,
> perhaps the secret lies in the pattern shape and is not affected as much by
> the grain.
>
This is a good point; maybe the pattern of the _fabric_ dictated which way
she cut the sleeves, not the pattern piece or the grain. She is dealing
primarily with theater, not history, as someone reminded us earlier in this
conversation.

AND even if cutting on the bias wasn't the right way to go (sorry, I stopped
paying attention at one point and picked it up again recently), interlining
the piece on the grain with embroidery for stability would help with the
drape.

LynnD

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From: linda <linda@corsetsandcostumes.com>
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Subject: [h-cost] re: swimwear and location
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>Message: 13
>Date: Mon, 1 Dec 2003 18:27:38 EST
>From: AnnBWass@aol.com
>Subject: Re: [h-cost] swim wear
>To: h-costume@indra.com
>Message-ID: <7e.424e58ae.2cfd286a@aol.com>
>Content-Type: text/plain; charset="US-ASCII"
>
>In a message dated 12/1/2003 5:36:16 PM Eastern Standard Time, 
>Camelothorse@earthlink.net writes:
>Are you that much older than me or is
>Texas more progressive than I thought ?  Boys had to wear suits and girls
>were allowed in the pool at he same time.   I had always thought of Texas as
>being a little behind the rest of the U.S. but, perhaps I am wrong.
>I'm just over 50, and, actually, our high school, Normandy High School in St. 
>Louis County, MO, may have been out of the norm, because periodically people 
>would call the radio station to say, "you know what that school is doing in 
>swim classes?"  We were, however, one of the few schools to have a swimming pool 
>at all.  My brother was 7 years older, but it continued through my years, and 
>I think for some years after, as I seem to remember hearing one of the above 
>calls later.  The radio station would call the school superintendent to 
>confirm if it was true.  (He later went on to be athletic director at Mizzou, by the 
>way.)  The boys on the swim team of course wore trunks.
>
>Ann Wass

I am 52, and I lived in Kansas City, Missouri when the boys swam nude.  My brother was 7 years older than I and it realy upset me that he could swim at the YMCA and I couldn't, also I went to a Catholic School... You have to remember, the state right next to us, Kansas, was a "dry" state meaning no hard liquor was allowed to be sold in that state at all. You could buy lower alcohol that was 3.2% but no higher... We had a "blue" law on sundays (no liquor could be sold in stores) until sometime in the mid 80's in Kansas City.  How far we have progessed since that.  :D  


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Anybody here seen "Blackadder"? I think Rowan Atkinson missed a bet..

http://ladysarafina.home.att.net/1582_Infanta_Catalina_Michaela_of_Austr
ia_by_Coello.jpg


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Hi!  My SCA name is Giovanna, and I am new to this list.  I am fairly new to costuming, too, and I am always full of questions.  I have gotten a lot of really helpful information from reading the posts on this list, but I have a couple of questions I was wondering if anyone could help me with.  
 
When would they have started using cartridge pleating in Florence, and when did they start using corded petticoats or farthingales?  I am trying to put together a complete outfit from about the 1490s, and I am not sure if they would have used these.  I have been doing double box pleats, but I would like to get fuller skirts if that would be accurate.    
 
Thanks a lot!
 
Giovanna
 


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kat@grendal.rain.com wrote:

> Does it help take the strain off the back that having a separate 
> small bumroll does? 
> 
> Shoot, mine end up padded something like this anyway just to get the 
> pleats big enough. But without that little waist attached separate 
> bum roll the weight is still on my back rather than around my waist.

If you've got a corset, tie your farthingale to it.  Arnold hypothesizes 
that this is what the eyelets are for in the bottom of the corset in 
Patterns of Fashion.  When I did this with mine, I stopped having lower 
back pain.  Tying the farthingale to the corset distributes all the 
weight of the skirts throughout the torso and shoulders (corset must 
have straps for this to work!).  You can see mine, with close-up photos 
of the ties and further exhortation on the benefits to your back at
http://www.faucet.net/costume/period/under.html

That way you can have bumroll or no bumroll without sacrificing your 
back.  I end up sending this to the list every other year or so, it 
seems, so apologies to those who've seen it before.  If back pain can be 
avoided, I'm willing to repeat myself!

Melanie Schuessler


http://www.faucet.net/costume
http://www.coastal.edu/theater

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From: Robin Netherton <robin@shell.nightowl.net>
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On Tue, 2 Dec 2003, Hope Greeenberg wrote:

> And another question about ebay/en5001's wool: Does anyone know what
> the weave of his wool gabardine actually is? Is it a standard twill or
> one of those weird modern "tricotine" types that look like twill on
> one side but not at all twillish on the other? And how much does it
> full/fluff when washed?

I bought the twill, not the gabardine. It's a true twill. It softened and
fluffed only barely in the wash, so I think it is a worsted wool. (Hope,
that was the fabric of the red dress I wore in Boston.) I have no idea
about his gabardines, though you could email him and ask if they're
tricotine. 

I saw something recently called tricotine and it was suitably twillish on
both sides, so there may be some variation.

--Robin

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Subject: Re: [h-cost] RE: Ecclesiastical Clothing
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In a message dated 12/2/2003 6:16:04 PM Eastern Standard Time, 
r.carnegie@verizon.net writes:
I am looking for information regarding the construction of 18th century
Anglican Cassocks.  The programs I want it for are set in 1737 and 1774.  I
suspect that there is little alteration in the garment throughout that
period, but would like to know also if that is true or not.
When I was researching the attire of American Episcopal priests in the early 
19th century, I came to the conclusion that they did not wear cassocks.  The 
cassock seems to have come in about mid century, I believe 1840 or so.  So I 
dressed my priest in somber regular clothes, but with the white linen robe whose 
correct eccliastical name escapes me at the moment.  This was for an early 
19th century funeral.  I don't have the documentation with me--some of it may be 
at my office, and I won't be back there until Thursday, but I will look then 
and see what references I still have.

Ann Wass
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In a message dated 12/2/2003 6:16:04 PM Eastern Standard Time, 
r.carnegie@verizon.net writes:
surplice over the cossack
"surplice" is the name of the white linen robe, thank you.

Ann Wass
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> >It's one of the reasons
> why so many female weight lifters need to have breast implants to have
> a bust. They may have started out with large breasts but once they
> have lost the body fat they not only often quit having periods they
> also end up with fried egg breasts.
> 
> But these women are not fertile and therefore would not bred one if
> they maintain that state, thus in the past would not contribute to the
> gene pool. weight lifting or excersise to that extent IMHO is not fit
> (as in the biological sense)

Actually, some of them are fertile. It depends on a number of 
factors. And some of the information I've seen tends to show that 
although it is for different reasons (starvation as opposed to excess 
exercise), women from the middle ages may not have bred as quickly as 
an age matched cohort from now.

> >some have more genetics for getting fat on very little than
> others. Most from Europe actually don't tend to get as fat as from,
> for example, SW USA.
> 
> And SW USA genotype is what ?

Not modern SW USA genotype but pre-contact the people developed what 
the scientists are calling the "thrifty gene."

It's difficult to explain but this article can explain what I'm 
talking about far better than I can:
http://www.pbs.org/saf/1110/features/fighting.htm

> To be frank I thought most US people got fatter due to the earlier
> introduction of processed and fast food As I child I remember visiting
> and there were far more fat people than in the UK, these days we are
> facing a general problem here which is resulting in advertising bans
> on kids foodstuffs possible soon.

In the overall Americans, this is probably the case (combined with 
too much time sitting in front of a telly instead of playing 
outside.) However, the example of the Pimas that I'm talking about 
goes far beyond that. (There are tons of articles about this. If you 
google Pima+Obesity you get more articles on the subject than you'd 
want to ever see.)

> > The more often a society was chronically starved
> (such as in hunter-gatherer societies vs agrarian societies), the more
> likely it is that they will have problems with overweight in even a
> normal eating situation. (The Pima tribe for instance.)
> 
> You are suggesting hg are more often starved than agrarians ? In the
> Americas ? Because not all evidence suggests this, in fact the
> opposite in some cases, when looking sketally.

I think that you'd have to look at where they are doing their HG. If 
you are talking about food rich areas (such as in Africa), they are 
going to have an easier time of it than in other areas.

I don't know why skeletally (which I think you mean by sketally) you 
would necessarily be able to tell. If there are certain types of wear 
patterns on the bones or muscle attachments you could but there are 
other reasons why it might be the case, but levels of obesity vs 
normal weight would be difficult to tell. 

Could you give me some references? All of my forensic books talk 
about being able to reconstruct if they know if the person was 
emaciated, normal or obese but say that they can't tell from looking 
at the bones themselves which it was. (Although some of the medical 
references talk about the bones of obese people being denser due to 
the leptins, but not that there is any structural difference you 
could tell from a skeleton.)

> Although those with less access to fat (like hg v dairy farmers)
> fattening easier makes sense

Yes, and when the diet changes completely (such as when Pima people 
are put on "normal" American diets), they fatten far faster than the 
general population.

Kat
<kat@redtrollforge.com>


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> The typical profile to me is big boobs, big tum & big bum very little
> variation on it hence the mother/fertility associations postulated

That doesn't mean it was a look that was looked for in a mate. 
Sometimes women don't get this look until after they've been "mated" 
a while.

> >And lots of boob actually can create major problems for
> breastfeeding.
> 
> I haven't observed lots of women, so I can only speak from my own
> experiance here, but when I'm feeding my boobs although bigger are
> firmer as they are full of milk, fatty boobs would seem on face value
> to be a bigger potention suffacator.

Big, firm breasts are even harder to deal with when breast feeding 
than squishy ones because they are harder to get away from the baby's 
face. When you push the large firm breast away from baby's face, the 
nipple pops out.
 
>  >Mums who are medium or
> small endowed have far fewer problems with breastfeeding in this way.
> Again I'd have to guess these are in the main bra wearing, largly
> inactive women as opposed to active, big breasted women with less fat
> ?

Not from what I've seen in breastfeeding moms. Bra wearing may be a 
factor (as several of us have mentioned) but most of the women who 
have large breasts, have smaller ones when they lose the weight or 
become more fit.

But like I said, it seems like the firmer breasted women had more 
problems than the squishier ones (who could push it out of the way a 
little easier.) The exceptions are the ones whose breasts were firm 
in some ways, but had more breast below the nipple than above. But 
those women tended to be smaller breasted to begin with.

Kat
<kat@redtrollforge.com>


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> When would they have started using cartridge pleating in Florence, and
> when did they start using corded petticoats or farthingales?  I am
> trying to put together a complete outfit from about the 1490s, and I
> am not sure if they would have used these.  I have been doing double
> box pleats, but I would like to get fuller skirts if that would be
> accurate.    

1490 Florence could have had cartridge pleating but its doubtful that 
they would have had any sort of stiffened petticoat. They certainly 
didn't have farthingales in that time period. (In that time period 
only Spain had them and they weren't like we think of.)

Some books you might find useful:

Dress In Renaissance Italy 1400-1500 by Jacqueline Herald
Dress in Italian Painting 1460-1500 by Elizabeth Birbari.

If you are also interested in the culture and daily life in that time 
period in the Tuscan Valley (Florence), let me know and I'll give you 
some more references.

Kat
<kat@redtrollforge.com>


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>My daughter and my friend's daughter were both invited to participate
>in the costume contest on Saturday.  My daughter was wearing a
>lavendar & off-white bustled gown (c. 1870), which I've been working
>on for weeks -- it wasn't complete, but done enough for her to wear.

I saw that.  Nice.

>Back to the costume contest -- the woman who won on Saturday was
>wearing the most beautiful 1840s dress, perfect down to the print of
>the fabric (at least, to my untrained eye).

She is a member of h-costume.

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

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> If you've got a corset, tie your farthingale to it.  Arnold
> hypothesizes that this is what the eyelets are for in the bottom of
> the corset in Patterns of Fashion.  When I did this with mine, I
> stopped having lower back pain.  Tying the farthingale to the corset
> distributes all the weight of the skirts throughout the torso and
> shoulders (corset must have straps for this to work!).  You can see
> mine, with close-up photos of the ties and further exhortation on the
> benefits to your back at
> http://www.faucet.net/costume/period/under.html

I've got my petticoats tied to the bottom of my corset, but it isn't 
quite enough to lift the weight of the skirt-back (especially the 
dresses which have trains) without the bumroll.
 
> That way you can have bumroll or no bumroll without sacrificing your
> back.  I end up sending this to the list every other year or so, it
> seems, so apologies to those who've seen it before.  If back pain can
> be avoided, I'm willing to repeat myself!

Although some of us have been on the list for a donkey's age, if it 
can help someone it bears repeating. 

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] 15th C gown
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From: "Robin Netherton"
>
> Before you commit yourself, you might want to be aware that the woman in
> the patterned gown is St. Barbara and not meant to be a realistic figure.
> There is a very strong chance that her outfit would never have been worn
> by a "real" woman and may have existed only as a costume in the artist's
> studio, if that. Current fashion of this time is better represented by the
> women donors lower in the picture.

Drat! I had been under the impression that the lady in this picture was a
donor. :-( This painting was part of a tryptich (sp?) as I recall.

> Barbara's dress includes elements of several examples of older fashions,
> mixed-and-matched. The fabric pattern is one you see on realistic dresses
> of a few decades earlier, but those dresses were of quite different style
> (usually V-necked overgowns). The element of an oversleeve pinned to a
> short-sleeved laced-front fitted dress seems to have been a form of
> informal wear earlier in the century, but I don't think I've seen an
> example of that type of dress that included the fabric panel under the
> lacing and over the bosom, which came into fashion a bit later as part of
> another style.
>
> (snip)

> If you want a 15th century use for that fabric, consider something a bit
> earlier, such as this from 1449:
>
> http://www.kfki.hu/~arthp/art/c/christus/2/eligius.jpg

I have on my hard-drive at least a couple more examples (from 1450 to 1480
or so) of this type of patterned fabric. One more gown similar to the first
one I posted, worn by the Magdalen; one is a sideless sucote as worn by the
paintings donor, two seem to be undergowns, and one just pinned on sleeves.
My thought had been to pattern the construction on the gowns of the earlier
part of the century, I had just been pleased to find fabric so similar to
the paintings I have. :-)

> That's on my personal wish list, and I had that image as the wallpaper on
> my computer for a really long time. I've found similar black-and-gold
> brocade fabric at a drapery store, but at $30/yard all I can do is gaze
> fondly at the swatch I took home. :-(
>
>  --Robin

I know the feeling, I have a couple of paintings sitting in my computer that
I have slowly been gathering the bits and pieces to make the actual
garments. The other one on my list at the moment is the white gown in the
Darmstadt Madonna.

Sigh, too many outfits, not enough money..

Sheridan



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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Davenport (was Re: [h-cost] looking for mailman fabric
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>It suddenly occurred to me how much I'd been
>missing out on without the Davenport book in my library. That is a 
>*wonderful* book! (I can't find
>the color plates either, Kayta, so maybe they are long gone from my copies 
>too.)

Now you see why it's my favorite place to start.  But I don't think my copy 
ever had the color plates.  I found one edition that did, and the color was 
horribly off (using printing technology older than I am!).  You're fine 
without them, and there are only 4, so no biggie.

Mailman pants - can't you just buy some official ones, too big, and tailor 
them to fit?  You'd certainly get the official fabric that way.

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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Dickens /Christmas/ Costuming
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>  I've never been entirely sure what time period
>Dickens covered.

The costume approval person told me 1840 to 1864 (she thought my 1840 
needed hoops!).  The costume judges for the daily costume competition are 
allowing up to about 1870, in which year Dickens died.  Fezziwigs is doing 
1840 to not quite 1860, because we need to keep our hoops small on our 
small dance floor, but our Mr. Fezziwig wears much earlier, including knee 
breeches, as in the illustration of Fezziwig's Christmas party from 
Scrooge's youth.  The Adventurer's Club is doing as late as Sherlock 
Holmes.  Nobody is entirely sure what time period Dickens' Fair covers, but 
think hoop skirts and you can't go far wrong.

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

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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
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Subject: [h-cost] FACETED GEMS on gowns
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Status: RO

 I want to say the will for the Countess of
Shrewesbury dated 1588 mentioned a gown with table-cut
sapphires to be given to Lady so and so who is
probably a daughter in law. I don't have my genealogy
resources here to back that up though. I stuck in my
mind because I have a round table-cut sapphire.

 
> Check out Tudor and Elizabethan Jewelry by Diana
> Scarisbrick for lovely
> closeups and descriptions of gems.
> 
> Drea
> 
> On Mon, 1 Dec 2003 ladysarafina@att.net wrote:
> 
> > I'm working on a blue velvet tudor for 12th night
> and my husband wants new
> > pants also. I sewn all the jewels down along the
> front of the neckline. I'll
> > keep a photo diary and show the evolution of the
> gown.
> >
> > Can anyone tell me if they had faceted gems/glass
> cabochons in the 16th
> > century? I know that they put pearls on their
> necklines, but I'm trying to
> > determine if putting faceted jewels on a dress is
> a plausible 16th century
> > decorative technique.
> >
> > Sarafina
> >
> > --
> > The Honourable Lady Sarafina Sinclair, CE, CW, APF
> > http://ladysarafina.home.att.net
> >
> >


=====
Aurum peccamenes multifariam texit

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Status: RO

Ahh...I hadn't thought of monitors.  The two examples look almost
identical to me, too.
--sue

Lee Thompson-Herbert wrote:
> 
> Catherine Olanich Raymond <cathy@thyrsus.com> wrote:
> >
> > If you mean the color being worn by the woman in this picture:
> >
> > http://polaris.umuc.edu/~jthies/Tanya.gif
> >
> > That's not what I'm talking about here (I hate that particular dark-greenish
> > teal, by the way, and the related brighter color that was so darn popular
> > during the 1990s).
> >
> > I mean the "teal blue" color that Michaela's "Anne of Cleves" dress is:
> >
> > http://costumes.glittersweet.com/sca/cleves.htm
> >
> > To me, the "Anne of Cleves" dress is not a teal at all, but more of a
> > turquoise blue--but this discussion started out referring to it as teal blue,
> > and I was trying to stay consistent.  :-)
> 
> This might be a difference in monitors.  I don't see a great deal of difference
> between the dress colors in those two photos.  The only place I see anything
> resembling turquoise blue is the one shot on Michaela's page that's labeled
> as FabricTest2.  In that shot, it looks to me like the flash has caught the
> sheen of the velvet and has overexposed the frame, making the color look
> much lighter than it would otherwise.  All the other photos, including ones
> that look like they were taken in natural light, are darker and have a more
> greenish cast.
> (real turquoise of decent quality is _not_ greenish)
> 
> Lee M.Thompson-Herbert        lee@retro.com           KoX 1995, SP4
> Head Muso, White Rats Morris, Faultline Morris
> Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
> "A head-on collision between Morticia Adams and Martha Stewart"
> 
> _______________________________________________
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Subject: Re: Viking dress from historiska.se, was Re: [h-cost] wondering
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On Fri, 28 Nov 2003, Catherine Olanich Raymond wrote:
> Oh, Ingrid, thank you!  I really didn't want to impose, but I do appreciate 
> having the extra information.  

Warning: another long one... :)

You're all very welcome. :) The rest of the stuff is included at the
bottom of this mail. I've been doing it in between other things at work
so it may read a bit staccato at times... My comments in parentheses, as 
with the previous one.

> 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).  :-)

My native language is Norwegian, which means that I can understand 99.9
of what I read in Swedish, although I couldn't write it correctly to
save my life. :D The problem is translating between two languages which
are not my own; it all boils down to passive vs. active vocabulary I
guess, although it is much easier for me to write something from scratch
in English than to translate things. I don't think I botched it too 
badly though. :)

Marc made an excellent point about not taking these things for fact; for
the record this is just meant as a help for those who don't read Swedish
to see what the museum people wrote. They don't include as many
references as I'd like and certainly there has to be a lot of guesswork,
but this at least is what they present on the website (with possible
errors owing to my translation). :)

Here goes:


Apron dress

The viking age apron dress is an area of discussion among scholars of 
costume. Older research claims that the dresses that hang from the 
tortoise brooches only are separate pieces of cloth, linked at the sides 
with bands appriximately like a tabard. This reconstruction, however, is 
not likely, other that for those variatons that have two overlapping 
pieces (see below).

Today it is thought that the most usual type of apron dress was sewed 
together at the sides, and had a tubular form that probably in many 
cases was shaped to the figure. This is suggested among other things by 
finds in Hedeby harbour. The dress that we show here comes before the 
later variand and is made from a hand woven wool in a broken lozenge 
twill. Our reconstrucion is geared towards the 10th century, but there 
is much to suggest that apron dresses of this period more often were 
made from linen than wool.

Click the pictures for larger ones.

The apron dress probably derives from the peplos of antiquity, which was 
made from two pieces of cloth fastened together at the shoulders. It is 
not likely that only one single type of apron dress has existed, but 
that different fashions have been prevalent at different times. Current 
research shows that the models that may have existed are a straight 
tubular model sewn together at the sides, a similar model shaped more to 
the figure that may be a bit later than the straight one, and a model 
that consists of two different pieces, one front and one back piece, 
that overlap and are fastened together with the tortoise brooches. All 
these, however, must be seen as qualified guesses since only fragments 
of viking age clothes have been found.

The dress is held up with bands over the shoulders, which in their turn 
are fastened with the needle of the tortoise brooches. Metal oxidation 
preserves cloth, and it is at the back of tortoise brooches that almost 
all finds of textiles from the Birka graves have been found.

The needle that is fastened to the back of the tortoise brooches is put 
through the small "eyelets" (of the shoulder band).

The finds from Hedeby harbour are ones of a completely different kind 
than Birka. When boats were tarred, old worn pieces of clothing were 
used. After the pieces had been used, they were thrown into the water 
where it became buried in preserving mud, to be dug up again by 
archeologists a thousand years later.

The material from Hedeby is interpreted as belonging to a middle class 
of society, while the Birka material is thought to be from the highest 
classes of the viking age. Yet more finds, from York, is considered by 
many to be from the lower classes.

In fact it is not at all certain that viking age women would have worn 
apron dresses for everyday wear. It, and maybe also the tortoise 
brooches, may have been old-fashioned and only used for special 
occasions, a bit like we wear folk costume today. In correspondence with 
the coming of christendom, tortoise brooches are no longer found in 
graves. This may be because a more European medieval fashion became the 
norm, or perhaps it was no longer the custom to include them in the 
burials.



Tortoise brooches, brooches and tools

Tortoise brooches are perhaps among the most characteristic items from 
the viking age. They appear often in graves and are invariably cast in 
bronze. Like other tings, tortoise brooches are subject to fashions and 
whims, and they become more elaborate the further we come in time. There 
can also be seen clear differences between those of people of high 
status and those less well off, even though it is fairly certain that 
few if any poor persons wore this kind of brooch. It may even be that 
the brooches signal the status of "gårdhusfru" (I can't come up with a 
word for this; basically it is the woman who is in charge of the farm, 
which usually means that she is married to the man who owns it (or 
possibly it could be his mother)), i.e. the wife of an "odal" farmer. 
(The word odal, odel in Norwegian, means one who has the right to 
inherit the farm. Don't know the English word, sorry! Traditionally the 
oldest living son.) Quite a lot of power is usualy ascribed to these 
women since the men are supposed to have been away in viking raids part 
of the time. (I may be wrong about a nuance here, but it isn't costume 
related anyway... ;) )

Click the pictures for larger ones.

Below are a pair of extant brooches that are displayed in the museum. 
(This is the text between the two pairs of brooches.)

>From the tortoise brooches, one's tools, for example needlecase, keys 
and scissors (shears?), are suspended in a chain or thread. Here a pair 
of scissors are shown. (This is the text above the pic of scissors and 
the red dress)

Below you can see extant scissors, and also other things that have been 
suspended from the brooches; a key and a needlecase. All these are 
exhibited at the museum.

Oval brooches such as these are typical of women on the mainland. 
Finnish women wore round brooches, and on Gotland the brooches had the 
shape of animal heads.

Necklaces
Women often wore pearl necklaces when buried. When the body was 
cremated, the necklaces were in many cases added afterwards, and are 
undisturbed today. The strand of pearls shown below also has a cross 
attatched. We don't know today whether this actually means that she was 
a Christian, or that she believed in both pagan and Christian gods, or 
if someone else put it there after she died. (It sounds here as if the 
reconstruction is closely based on an actual find, but they don't 
include any references unfortunately.) According to current research 
ther is much to suggest that many people were "both" pagan and 
Christian, and that this was accepted because the views on "belonging 
to" a religion were perhaps less dogmatic than today.



Shoes

This pair of shoes, or "kängor" (a word for boots) which shoes that 
extend beyond the ankle are called, are called "Osebergskänga" after a 
find in the Oseberg ship from the 9th century. They have a boat-shaped 
sole, with points both at the front and back - a typical viking age 
feature.

Click the pictures for larger ones.

The straps are pulled around the leg and then tied. The exact 
construction is not likely to be found out, since they were not found 
fastened to a foot but loose among the grave goods.

The viking age shoes are often made with a seam straight over the front 
part. This is a solutionthat simplifies construction; a shoe is much 
easier to turn (they are made inside-out) if the front part is open.



What is she wearing over (the other clothes)?

In contrast to contemporary European women, the viking age woman
(strange distinction - the age is surely the same all over Europe at the
same time ;) but I don't like to call it viking woman, since viking is
something you do not something you are...) wore a coat which is open in
front. It is closed with a single brooch, for example a trefoil brooch.

Click the pictures for larger ones.

Trefoil brooch:
To keep the coat closed in front, a so-called trefoil brooch such as 
this, or other variations such as the large round ones or "likarmade" 
(no idea of the English word; pictures can be found here: 
http://www.historiska.se/histvarld/artikel.asp?id=10731) was used in 
Mälardalen (a place). Vikings from Gotland once again stick out with 
their "dosformiga" (ditto with the translation problem; picture here: 
http://www.historiska.se/histvarld/artikel.asp?id=10226), which 
indicates that the cultural identity was different from that on the 
mainland.


Ingrid

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From h-costume-bounces@indra.com  Tue Dec  2 22:03:39 2003
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From: "Sarafina Sinclair" <ladysarafina@att.net>
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Date: Tue, 2 Dec 2003 21:02:06 -0600
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Subject: [h-cost] half farthingale description LONG
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Hi all,

My head is in a spin because I have been reading and re-reading the section
in QEWU about farthingales and I am simply blown away. When I proposed that
the half farthingale was possibly the bumroll I was heading in the right
direction. It seems too easy though, so I am going to present the info for
you all to see and discuss.

I've been reading QEWU and I found a description of the half farthingale.
Robert Sibthorpe was the Queens farthingale maker. He was responsible for
constructing and altering the Queen's farthingales with the changing fashion
as well as repairing them. The half farthingale was worn with a roll of
cotton used to support the fullness of the skirt. Perhaps this roll of
cotton is the infamous bumroll.

The description is in QEWU page 198.

"The first reference to a half farthingale appears in 1580 when Sibthorpe is
entered 'for fower severall tymes translatinge and styffenynge of a half
verthingale of watchett and strawe colour taphata'. This presumably gave
width at the sides and back leaving the front skirt flat. Perhaps this
evolved from the farthingale 'such as is now used by the French Queen and
the Queen of Navarre', sent to Elizabeth by Amyas Paulet in 1577. Some half
farthingales were worn with a padded roll tied below the waist to support
the fullness of the skirt, thus enlarging the hips. Sibthorpe made 'a half
verthingale and a rolle of oringe tawnye & watchett damaske stuffed with
cotten woll whale bone & bent' -- and there are several other entries -- in
1581. After this the rolls are entered separately; typical entries include
'making two Rolles of yellowe buckeram with whales bone' in 1585, 'making of
thre rolles of hollande clothe with wyers bounde with reben' later in the
same year and 'making of a Rolle of starched buckeram with wales bone' in
1586. Descriptions do not always make the distinction between farthingale
and sleeve rolls, although pairs of rolls would seem to be for sleeves, and
are usually made by the tailor." (as opposed to the fathingale maker)

When I wore my bumroll and modern hoop skirt together it looked ok, but it
wasn't until I had a farthingale made from the Alcega pattern that I got a
truly period line to my skirts (flatter in the front and fuller in the
back). I will take pictures and post them to my site to illustrate the
difference.

I wonder if this answers the bumroll question or not. What do you all think?

Sarafina

----------------------------------------------------------------------------
--------
The Honourable Lady Sarafina Sinclair, CE, CW, APF
http://ladysarafina.home.att.net

----- Original Message ----- 
From: "Drea Leed" <drea@nospam>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 02, 2003 2:07 PM
Subject: Re: [h-cost] Tudor dresses/cartridge pleats


>
> > Bumrolls are another area of controversy. Some people say that they
> > were not worn with any sort of hoop, while others say that they could
> > be worn with a hoop. And they don't show up in the inventories (but
> > then, neither do other common things like shirts and smocks. It's
> > like the things which are not made of silk, velvet or other rich
> > fabric don't get mentioned very often at all.) Personally, I've found
> > that the dress has far less pull on my shoulders (because it
> > distributes the weight of the skirt over the hips, which petticoats
> > and hoops do not do) if I use a small bumroll at the very back. It
> > also helps keep the line of the back more similar to the Holbein back
> > view.
>
> In Elizabeth's wardrobe accounts of the 1560s & 1570s, I've come across
> numerous mentions of "french" gowns (i.e., fitted bodice sewn to gathered
> skirt) having both heavy wool and buckram pleated into the pleats to help
> them stand out, as well as small rolls stitched to the pleats. The first
> reference I've found to a roll mentioned separate from a gown is 1580.
>
> I experimented with padding pleats in the farthingale I'm currently
> making. I sandwiched a piece of buckram between two layers of thick wool,
> stitched it to the back waistline of the taffeta farthingale, and
> box-pleated all layers together. It took some tough stitching, but the
> result is very pleasing--the back of the farthingale stands out for all
> the world as if there were a small bumroll beneath it.
>
> Drea
>

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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: Re: [h-cost] The history of swimwear......
Date: Tue, 2 Dec 2003 19:18:40 -0800
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The book is called "A Short Introduction for to Learn to Swimme Gathered out
of Master Digbies Booke of the Art of Swimming and translated into English
for the better instruction of those who understand not the Latine tongue."
It's by Christopher Middleton and published in London in 1595.  The book is
just over forty pages and full of illustrations.  A couple pages can be
found for a short time at http://www.thrednedlestrete.com/Bulletinboard.htm

What's curious is that it seems at a quick blance that the woodcut
illustrations must have a replaceable center where the vertical lines are
and the center is switched to illustrate the different strokes.  There are
about three backgrounds that are used and the swimmer changes in each one.
Clever!

Cheers,

Lisa Sinervo


----- Original Message -----
From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 27, 2003 1:59 AM
Subject: Re: [h-cost] The history of swimwear......


> >Today I
> >noticed a book on learning to swim from the EEBO collection
>
> What was the book please ?
>
> Mel
>
> This e-mail, and any attachment, is confidential. If you have received
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> Company, unless specifically stated
>
>
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Subject: [h-cost] pattern book of sorts
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Hi all,

I've just come across a series of four volumes called "Documents pour le
costume de theatre" produced by l'ufoléa ligue française de l'enseignment.
Volume 1 is the middle ages, volume 2 the renaissance  and 3 and 4 are 17th
and 18th centuries.  They are a series of unbound pages of costume patterns
organized into groups - noble, peasent, military, religious et and a couple
of booklets describing the research,  accessories, hairstyles.  They appear
to be from the 60s.

Has anyone ever heard of them?  My french is a bit rusty and I'm trying to
decide whether or not it is worth the effort to decipher them.  I know these
are designed for the theater, but I wondering if the patterns might be a
good base to start from, or if i should just draft patterns from scratch.

cheers,

Joanna

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 12th c. bust support
Date: Wed, 3 Dec 2003 00:13:29 -0500
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On Tuesday 02 December 2003 05:11 pm, Brenda Bell wrote:
> Kat wrote:
> >I'm with you! I rarely wore a bra, mostly because I couldn't find
> >ones that fit around my ribcage (I'm at my largest I've ever been and
> >still only need a size 32" band size...
>
> To which Cathy Raymond responded:
> >I can find bras in ordinary stores in 32A; Victoria's Secret also carries
> >them. (I'm wearing a VS model as I type this, in fact).  It's just a bit
> >harder to find them because stores stock fewer bras in small sizes....
>
> Most of my college years, I was a 34D or a 32DD. I'm pretty sure I *used*
> to see band sizes going down to 30".

I've seen band sizes as low as 28, but 28 anything is rare, as is 30; 32 is 
the smallest size I've typically found in specialty shops and department 
stores (which is why I hope my breasts never get any smaller! Of course, if 
they do, maybe my need for a bra would be academic.)  :-)

[snip]

[says Brenda]
> I'm with Dianne and Sue. I failed the "pencil test" from the very
> beginning... at least since back when I was an "A" cup in 6th Grade. I was
> to the point where I'd wear bras to sleep because I felt I was flopping
> around _that_ much. (BTW, I "grew" pretty quickly:  I went from trainer
> bras at age 10 to a D cup at age 14 or 15, and have never been "smaller"
> than that...)

Wow.  

Maybe this is a "breast firmness" issue, dictated by genetics more than 
anything else?


-- 
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] 12th c. bust support
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From: Sarah <sarah@modehistorique.com>
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> That's true to a certain extent, but people with large breasts will
> usually end up with much smaller ones when they lose body fat. Once
> you drop below about a certain percentage of body fat, the breasts
> can reduce pretty quickly.

Boy do they ever.  During the Great Weight Loss of 1999, after a 
particularly painful breakup in which I can't consciously remember 
having eaten for 2 weeks straight, I went from my healthy weight of 97 
lbs (I'm 4'11 and small boned) to 83 lbs.  In bra sizes, I went from a 
34 C to a 32 A.  I hadn't been that small since I was 13 or so.  
Clothing sizes went from a healthy size 2 to a size 00/girl's size 10.

NOTE:  I looked like death.  Rapid weight loss like that was 
frightening and I got myself to my doctor the moment I noticed what was 
happening.  I was put on all kinds of protein shakes and whatnot and 
eventually I began putting on weight and my boobs inflated once more 
(they went from nice and perky to shriveled looking... God, it was 
horrible!).  My skin was *gray*, I kid you not.  It was not attractive 
in any way, shape or form.

I've since put on all the old weight plus about 15 more lbs, so I'm 
actually pushing the opposite end of the weight spectrum for my size 
and body type now.  And my boobs?  34 D's, now.  Not that anyone is 
complaining... ;)

Obligatory Costume Content: I've got plans for a full Tudor outfit 
using only supporting kirtles like the ones the More girls are wearing 
in Holbein's portrait of Sir Thomas More and his family.  The goal is 
to get the proper flat shape on an otherwise curvy body without 
resorting to corsetry.

After I finish the 1880's polonaise project, however...

Sarah
http://www.modehistorique.com

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Subject: Re: [h-cost] 12th c. bust support
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>Actually, some of them are fertile.

Please explain given they are not menstruating ?

>And some of the information I've seen tends to show that
although it is for different reasons (starvation as opposed to excess
exercise), women from the middle ages may not have bred as quickly as
an age matched cohort from now.

Again if you have a reference for this I'd be grateful.  You are suggesting
(I think) by bred as quickly that they did not get pregnant in as few months
as they same age person now ? I'm not sure how this could be established ?

>Not modern SW USA genotype but pre-contact the people developed what
the scientists are calling the "thrifty gene."

Ah OK

>It's difficult to explain but this article can explain what I'm
talking about far better than I can:
http://www.pbs.org/saf/1110/features/fighting.htm

Thanks

>In the overall Americans, this is probably the case (combined with
too much time sitting in front of a telly instead of playing
outside.) However, the example of the Pimas that I'm talking about
goes far beyond that. (There are tons of articles about this. If you
google Pima+Obesity you get more articles on the subject than you'd
want to ever see.)

OK I'll take a look

>I think that you'd have to look at where they are doing their HG. If
you are talking about food rich areas (such as in Africa), they are
going to have an easier time of it than in other areas.

Well most of my experiance tends to be European, but it is a interesting
factor

>I don't know why skeletally (which I think you mean by sketally)

Yep it was late here :)

>you
would necessarily be able to tell. If there are certain types of wear
patterns on the bones or muscle attachments you could but there are
other reasons why it might be the case, but levels of obesity vs
normal weight would be difficult to tell.

Agreed in general , which I think I said somewhere, unless their is a weight
related diesease present that alters the skeleton,  the monks being the most
often cited examples

>Could you give me some references? All of my forensic books talk
about being able to reconstruct if they know if the person was
emaciated, normal or obese but say that they can't tell from looking
at the bones themselves which it was.

Sure I'll try and dig some out

>Yes, and when the diet changes completely (such as when Pima people
are put on "normal" American diets), they fatten far faster than the
general population.

Yes that follows and is seen in other rapid change over societies

But we are rather drifting off costume here ! :)

Mel



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My first thought was he and Percy must have switched clothes.  I never
understood how Percy could stand wearing that high collar in the second
season.
And now I'm going to have to go back and watch some episodes again.  I've
got almost all of them except for the 4th season (didn't like it as much)
and the Christmas/time traveling episode.

Bjorn Arnaldsson

> 
> Anybody here seen "Blackadder"? I think Rowan Atkinson missed a bet..
> 
> http://ladysarafina.home.att.net/1582_Infanta_Catalina_Michael
> a_of_Austr
> ia_by_Coello.jpg
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Status: RO


Hey all...    hey Sheridan
	I've been digging into this area recently myself...  btw,   nice fabric 
score.
	
	My first question is do you want to make the gown on the Saint?  or a 
standard kirtle from the mid 1450's Flanders?

	For cutting,  you're right 10 gore is not accurate for this time period.
	 I would use a 4 piece bodice - because the shaping of the bodice is so 
much simpler with the extra seam...  Also because artwork from the time 
period featuring similar kirtles show center back seams.  	Van Der Weyden 
"the Sacraments" for example.  Also the Czech mural "the Birth of the Virgin"
	Also,  for the Flemish kirtles, there are many examples of waist 
seams.  Van Der Weyden "The Deposition" for example.  Also archeological 
examples from London (MOL-textiles) support a waist seam post 1400.  (after 
all we are talking about the "tailoring revolution" period here ; >   )

During this time period,  skirts were cut in _many_ different ways.  Pretty 
much choose something fairly sensible,  and you'll be able to find some 
precedent.   Cuts I have seen include:  many flared panels; Mary of 
Hungary's;  long front panes gathered at the side and rear, rectangles.

On the Saint...  there isn't a waist seam depicted... which would simplify 
pattern questions,  but maybe not tailoring.

For the sleeves...  you could go two ways...  Raglan construction if you 
are just going for the generic kirtle of the mid 1450's Flanders,  or  if 
you are looking specifically at the Saint's gown,  then a arm fitted into 
the armsyce.   And I have to admit the place that I finally figured out 
sleeves was from a patterning book from the 40s.  But!  The Medieval 
Tailor's Assistant appears to have pretty good directions... you might look 
there.

Good luck,  and I'd love to see the finished product.
Bridgette

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To: Historical Costume <h-costume@indra.com>,
   "Historical Costume" <h-costume@indra.com>
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] pattern book of sorts
In-Reply-To: <000b01c3b951$aa8b47d0$2101a8c0@DHoffryn>
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You may have quite a find here.  These sound like they may be the same
volumes I saw this weekend at an antiquarian book dealer's, with a selling
price of $650!  

Margo




"One Tough Costumer"

www.margospatterns.com
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Subject: Re: [h-cost] pattern book of sorts
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Unfortunately they belong to McGill University  :(

Joanna
----- Original Message ----- 
From: "Margo Anderson" <margo@margospatterns.com>
To: "Historical Costume" <h-costume@indra.com>; "Historical Costume"
<h-costume@indra.com>
Sent: Wednesday, December 03, 2003 10:40 AM
Subject: Re: [h-cost] pattern book of sorts


> You may have quite a find here.  These sound like they may be the same
> volumes I saw this weekend at an antiquarian book dealer's, with a selling
> price of $650!
>
> Margo
>
>
>
>
> "One Tough Costumer"
>
> www.margospatterns.com
> _______________________________________________
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> h-costume@mail.indra.com
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> I've just come across a series of four volumes called "Documents pour le
> costume de theatre" produced by l'ufoléa ligue française de l'enseignment.

McGill, you say? Like... McGill in Montreal? That's great :-) Do you live in
the area?
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> Drat! I had been under the impression that the lady in this picture
> was a donor. :-( This painting was part of a tryptich (sp?) as I
> recall.

You can tell that it is not a donor by the iconography. Notice what 
she holds in her hands. Those are her identifying symbols. The 
kneeling ladies are more like the donors in terms of dress. 

Also, if you time match the dresses to others from the same time, the 
kneeling people are wearing what you see in a lot of other paintings 
which aren't confusing in their iconography, whereas St. Barbara's 
dress doesn't truly match any one outfit (as Robin has explained in a 
more detailed fashion.)

> I have on my hard-drive at least a couple more examples (from 1450 to
> 1480 or so) of this type of patterned fabric. One more gown similar to
> the first one I posted, worn by the Magdalen; one is a sideless sucote
> as worn by the paintings donor, two seem to be undergowns, and one
> just pinned on sleeves. My thought had been to pattern the
> construction on the gowns of the earlier part of the century, I had
> just been pleased to find fabric so similar to the paintings I have.
> :-)

Sideless surcoats are a tricky item. You might exam them a little 
more carefully to make sure that they are truly donors and not 
another saint. (I'm sure Robin can explain that one in more detail 
too.)

Kat
<kat@redtrollforge.com>


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> Maybe this is a "breast firmness" issue, dictated by genetics more
> than anything else?

That could very well be. But the original point was that the breasts 
in art could be realistic as there are people who do have that shape 
even now.

What we can't say is that all of them were that way, anymore than we 
can say none of them could be that way based on our own bodies.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] a bit off topic- rotary blade sharpeners?
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I use my rotary cutter often and go through quite a few blades (especially in winter when my fabrics are heaviest) I saw a roatary blade sharpener in a local sewing supply store and wondered if they work well? I'd love to find another way to cut corners so I could by more trim *gasp!* Thanks, Angelique


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Subject: Re: [h-cost] a bit off topic- rotary blade sharpeners?
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me wrote:
> I saw a roatary
blade sharpener in a local sewing supply store and wondered if they work
well?

I've seen the sharpeners for sale in the Clothilde catalog 
<http://www.clotilde.com/>, if you want to compare prices.

If you're not familiar with this company, please do the following:
1: Before checking out their website, take your credit cards, and put 
them in a bowl of water.
2: Put the bowl in the freezer.
3: Wait 5 hours.  Then go and peruse the website.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Baby t-shirts with medieval baby image -- great for your favorite 
Midwinter Holiday present.  http://www.virtue.to/store/ (other stuff too!)
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 15th C gown
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On Tue, 2 Dec 2003, Sheridan & Shane wrote:

> Drat! I had been under the impression that the lady in this picture
> was a donor. :-( This painting was part of a tryptich (sp?) as I
> recall.

The Moreel triptych, if my memory is right. I saw this one in Bruges, at
the Groeninge Museum, which is probably the single best collection in the
world if you're interested in 15th c. paintings of Flemish dress. (OK,
maybe the Museum of Ancient Art in Brussels could top it.) A pretty
typical triptych format is to have a devotional scene in the middle (say,
a crucifixion) and the donors on the wings, with the donors accompanied by
their patron saints (often standing behind the kneeling donor). In this
one, without going back to look it up, I'd guess the men of the family are
on the left wing with one saint, and the women on the right wing with
another, in this case Barbara.

> I have on my hard-drive at least a couple more examples (from 1450 to
> 1480 or so) of this type of patterned fabric. One more gown similar to
> the first one I posted, worn by the Magdalen; one is a sideless sucote
> as worn by the paintings donor, two seem to be undergowns, and one
> just pinned on sleeves. My thought had been to pattern the
> construction on the gowns of the earlier part of the century, I had
> just been pleased to find fabric so similar to the paintings I have.

That fabric does show up with some regularity. I'd love to know the sites
on your examples, just to make sure I have the same ones somewhere in my
collection.

You'll find that sort of fabric on some "real" people, such as the woman
in the goldsmith shop I cited earlier (Petrus Christus, St. Eligius
depicted as a goldsmith). But you'll also find it on a lot of saints and
other allegorical/religious figures. Your Magdalen will be one example --
and bear in mind that often Magdalen is shown in deliberately over-the-top
or "exotic" or "foreign" clothing, particularly by the second half of the
15th century, so there will likely be lots of cool bits to her outfit that
would never have been seen on the street or in court.

The sideless surcotes will be more troublesome for you. By the early
1400s, they tend to show up only on women in the royal family, and
typically in ceremonial circumstances; by the mid-1400s they appear to be
artistic code for "queen" and appear almost exclusively on (1) royalty in
ceremonial presentation, (2) royal saints, or (3) situations in which a
woman is depicted symbolically in "queen's dress." So you might indeed
have a donor in a sideless surcote, but the donor in such a case will
almost certainly be a queen or duchess (and if she isn't, I definitely
want to know about it), and the surcote will be code for her rank, not
necessarily a garment she would own or wear. If the surcoted woman is
standing behind a donor, she's almost certainly a saint, and I'd predict
at least a 75% chance that she's Catherine, with a lesser chance of
Barbara, Helena, or Ursula. Send me the cites and I'll let you know who
you've got, assuming I have the images in my collection.

(The above paragraph blows the punch line of one of my best lectures, as
those of you who have heard me speak about surcotes will know ;-) )

Of course, depending on your purpose, there's no reason you *can't* dress
up as a saint, if it's acceptable in your circumstances to be wearing
medieval fantasy costume. It's darn pretty. I wouldn't suggest it for an
SCA competition, though, because it's probably not safe to speculate that
the saints' dresses ever existed. They can be used with caution for
guidance on certain elements, but only after you've got enough familiarity
with iconographic code to be able to sift out the symbolic bits and
correlate what's left with non-iconographic representations.

--Robin


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] a bit off topic- rotary blade sharpeners?
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Cynthia,
That method only works if you don't have your CC #'s memorized from doing 
lots of online shopping, if you do its a lost cause. ;) 

Yes, I buy way too much online, the Postal Lady always delievers the packages 
to the door with a "See you've been shopping online again, get anything 
good?" 

-Marion

 
> If you're not familiar with this company, please do the following:
> 1: Before checking out their website, take your credit cards, and put 
> them in a bowl of water.
> 2: Put the bowl in the freezer.
> 3: Wait 5 hours.  Then go and peruse the website.
> 
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
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Subject: Re: [h-cost] a bit off topic- rotary blade sharpeners?
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----- Original Message ----- > Yes, I buy way too much online, the Postal
Lady always delievers the packages
> to the door with a "See you've been shopping online again, get anything
> good?"
>
> -Marion


The ONLY thing that saves me is that I don't use credit cards. Still, the
mailman brings a lot of priority mail packages up to my door! (ebay is my
friend!)

I got my wool from eBay today too. It's lovely..very light weight and soft,
beautiful forest green color. Some of it is going to be an apron dress for a
Viking-themed event next spring, not sure what I will do with the rest yet.
Probably t-tunics for my boys. I like to have them all in the same color, it
makes them easier to keep track of!

Dianne

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Organization: Medieval Hats: http://www.virtue.to
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Subject: Re: [h-cost] 15th C gown
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Robin Netherton wrote:
> You'll find that sort of fabric on some "real" people, such as the woman
> in the goldsmith shop I cited earlier (Petrus Christus, St. Eligius
> depicted as a goldsmith)

The Chicago Institute of Art has some actual fabric much like this in 
their ecclesiastic collection, from the 15th century.  I saw it.  It's 
keen.  Gold cord ground with deep blue velvet in the appropriate spots.

I wrote up what I saw when I was there; more description (but no photos 
of the fabric, alas) at http://www.virtue.to/articles/real_fabrics.html

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Baby t-shirts with medieval baby image -- great for your favorite 
Midwinter Holiday present.  http://www.virtue.to/store/ (other stuff too!)
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From: "Sheridan & Shane" <shooie@sprint.ca>
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Speaking of projects to do someday, this is the picture I have had on my
computer as wallpaper for the past year or so. That has to be one of the
most interesting hats!

 http://cgfa.sunsite.dk/unknown/p-unknown4.htm

Any guesses as to the gown she is wearing? There is a dress in the Unicorn
tapestries which is similar at the shoulders, but I thought those gowns were
likely fictional..

Sheridan

<><><><><><><><><><><><><><><><><>

...it is well known that a vital ingredient of success is not knowing that
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From h-costume-bounces@indra.com  Wed Dec  3 16:25:37 2003
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> Speaking of projects to do someday, this is the picture I have had on
> my computer as wallpaper for the past year or so. That has to be one
> of the most interesting hats!
> 
>  http://cgfa.sunsite.dk/unknown/p-unknown4.htm

Despite the attribution right there on the painting (which were 
sometimes added during the 18th or 19th C), this looks to me like a 
Magdalene. It appears to be cut down from a larger panel, such that 
the object in her hand (which looks like a type of unguent jar) would 
have been easier to identify since it would have been whole.

Or if it was Marie of Burgundy, she may have been portrayed as 
Magdalene (like for a masque.)

> Any guesses as to the gown she is wearing? There is a dress in the
> Unicorn tapestries which is similar at the shoulders, but I thought
> those gowns were likely fictional..

This could also be fictional (the dress and the headgear.)

The headgear looks to me like a 15th C European's idea of what a 
middle eastern woman would wear.

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] a bit off topic- rotary blade sharpeners?
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me wrote:

> I use my rotary cutter often and go through quite a few blades 

(especially in winter when my fabrics are heaviest) I saw a roatary

blade sharpener in a local sewing supply store and wondered if they

work well? I'd love to find another way to cut corners so I could by

more trim *gasp!* Thanks, Angelique



Reviews are mixed. If you look in some of the quilting discussion groups 
(rec.crafts.textiles.quilting comes to mind) you'll find people who love 
them and people who don't think they are so hot.

Personally, I am willing to live with a nicked blade for quite a while 
and either just run the cutter over that bit again or use thread snips 
to cut the one thread that didn't get sliced with the cutter. Like 
scissors, I keep a separate cutter for paper projects (usually with my 
old fabric blades).

You can also sometimes find blades (by makers other than Olfa) in 
hardware stores cheaper than sewing shops.



Dawn




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Marion wrote:
> That method only works if you don't have your CC #'s memorized from doing 
> lots of online shopping, if you do its a lost cause. ;) 
>
> Yes, I buy way too much online, the Postal Lady always delievers the packages 
> to the door with a "See you've been shopping online again, get anything 
> good?" 

Yup, what she said :)

Luckily my Uniquely You dress form arrived today, so I am sated for now.

K.

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On Wed, 3 Dec 2003, Sheridan & Shane wrote:

> Speaking of projects to do someday, this is the picture I have had on
> my computer as wallpaper for the past year or so. That has to be one
> of the most interesting hats!
> 
>  http://cgfa.sunsite.dk/unknown/p-unknown4.htm
> 
> Any guesses as to the gown she is wearing? There is a dress in the
> Unicorn tapestries which is similar at the shoulders, but I thought
> those gowns were likely fictional..

Good catch. This one, in my considered opinion, is fictional too, or at
least makes use of certain "exotic" elements designed to signal that This
Is Not A Real Person. The arrangement of the trim bandings on the bodice
is a partial clue, but the screamingly obvious tipoff is the combination
of the ointment jar and the turban: We are looking at Mary Magdalene. The
ointment jar is her attribute, and the turban (particularly as shown here,
mixed with more recognizable European headdress elements) is a standard
"exotic/foreign" label used for Magdalen and certain other Biblical women.
And I've seen at least three or four other paintings that show the
Magdalen's hair coming out of the top of a headdress in a ponytail, as it
does here.

Yes, I know it says Mary of Burgundy at the top. That may or may not be
accurate, as often such labels are added long after the painting is made.
If it is indeed a portrait of Mary of Burgundy, it's Mary presented as the
Magdalen. This isn't as strange as it sounds: I have at least six or seven
examples from the late 1400s and early 1500s of women posing as the
Magdalen, complete with jar. Mary Magdalen was an extremely popular saint,
second only to the Virgin Mary. She also tended to be portrayed in artwork
of this time as sexy, exotic, and fancily dressed. So apparently it wasn't
unusual for women to have their portraits painted as her; I would guess
that it gave them the excuse to be portrayed in Really Flashy Stuff while
still being respectable.

Now I need to find a copy of this in a book so I can photograph it (since
I'm not likely to be in France anytime soon). This is an absolute
must-have for the "Magdalen as Fashion Plate" section of my talk on
saint's clothing.

--Robin

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> Cynthia,
> That method only works if you don't have your CC #'s memorized from doing
> lots of online shopping, if you do its a lost cause. ;)

That's why it doesn't work for me...

> Yes, I buy way too much online, the Postal Lady always delievers the
packages
> to the door with a "See you've been shopping online again, get anything
> good?"

When it's my mother answering the door, the postal guy always looks around
to see if a bouncing girl is not about to appear around the corner :-) (He
still remembers when I got my first set of Margo's... I was going boiing,
boiiing, boiiing around the house... he must have thought he had a great job
that day, making people THAT happy :-)
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Subject: [h-cost] another eBay find
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For those looking for it, Queen Elizabeth's Wardrobe Unlock'd is up on eBay.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3571157070&category=29331

It is a great book, and no I am not selling my copy. Just thought I would 
share.

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: [h-cost] 12th c. bust support
Date: Wed, 3 Dec 2003 20:53:55 -0500
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On Wednesday 03 December 2003 01:31 pm, kat@grendal.rain.com wrote:
> > Maybe this is a "breast firmness" issue, dictated by genetics more
> > than anything else?
>
> That could very well be. But the original point was that the breasts
> in art could be realistic as there are people who do have that shape
> even now.

I don't disagree with that at all. However, Kat,  I was not addressing your 
point with my comment.  I was reacting to the woman who said her breasts, 
though small, have always been floppy, even in adolescence.  I'd never heard 
of that before.

>
> What we can't say is that all of them were that way, anymore than we
> can say none of them could be that way based on our own bodies.

Agreed.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Date: Wed, 03 Dec 2003 18:11:02 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] another eBay find
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And if you get it at the "Buy it now" price, it's still a good bargain.  If 
I wanted another copy (I have two), this would be a good buy. And I would 
not trust the auction mentality that often runs prices up astronomically.
Joan

At 05:33 PM 12/3/2003 -0800, you wrote:
>For those looking for it, Queen Elizabeth's Wardrobe Unlock'd is up on eBay.
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3571157070&category=29331
>
>It is a great book, and no I am not selling my copy. Just thought I would 
>share.
>
>Kimiko

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From h-costume-bounces@indra.com  Wed Dec  3 22:14:05 2003
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 15th C gown
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On Wednesday 03 December 2003 01:38 pm, kat@grendal.rain.com wrote:
> > Drat! I had been under the impression that the lady in this picture
> > was a donor. :-( This painting was part of a tryptich (sp?) as I
> > recall.
>
> You can tell that it is not a donor by the iconography. Notice what
> she holds in her hands. Those are her identifying symbols. The
> kneeling ladies are more like the donors in terms of dress.

I can't even see her hands, Kat--to me it looks like her hands are busy with 
some drapery.  But your point is well taken.  In medieval art in general, 
including the early triptych paintings, saints are shown carrying (or 
sometimes just near) objects that are symbols of their martyrdom or life 
story.  St. Agatha, for instance, is depicted carrying a pink lump that is 
meant to be a severed breast, because she allegedly had her breast cut off as 
part of her martyrdom/persecution.  These "identifying symbols" (excellent 
description, Kat!) are referred to as "attributes."

I couldn't remember what St. Barbara's attributes are, so I did a web search.  
This page claims they are a chalice and a palm, and that she is often 
depicted with or near a tower.  (Or, sometimes, bizarrely enough, *holding* a 
tower.)   The palm seems right, and the page has a bunch of helpful images of 
Barbara from different periods:

http://www.catholic-forum.com/saints/stb01001.htm

This business of attributes may be just a Roman Catholic thing; the Greek 
Catholic icons shown on the above site just show her holding a cross.



> Also, if you time match the dresses to others from the same time, the
> kneeling people are wearing what you see in a lot of other paintings
> which aren't confusing in their iconography, whereas St. Barbara's
> dress doesn't truly match any one outfit (as Robin has explained in a
> more detailed fashion.)

These are good points, Kat.  But there are two details that hit the eye first 
about the image we're discussing,  and to my knowledge are as reliable in 
distinguishing a human donor from a saint or similar religious figure: 

1)  The figure is shown kneeling.  I can't think of any examples where donors 
are *not* shown kneeling.

2)  In some art, donors are shown at only about 1/3 to 2/3 the size of the 
saint or religious figure (though that isn't the case in the image we're 
discussing.  It's part of the symbolism and shouldn't be construed as a 
misguided attempt to introduce perspective.



> > I have on my hard-drive at least a couple more examples (from 1450 to
> > 1480 or so) of this type of patterned fabric. One more gown similar to
> > the first one I posted, worn by the Magdalen; one is a sideless sucote
> > as worn by the paintings donor, two seem to be undergowns, and one
> > just pinned on sleeves. My thought had been to pattern the
> > construction on the gowns of the earlier part of the century, I had
> > just been pleased to find fabric so similar to the paintings I have.
> >
> > :-)
>
> Sideless surcoats are a tricky item. You might exam them a little
> more carefully to make sure that they are truly donors and not
> another saint. (I'm sure Robin can explain that one in more detail
> too.)

I remember that the sideless surcoat hung on as ceremonial wear for women 
(real women) long after they ceased to be fashionable.  I believe Robin 
alluded  to this fact as well.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Joan Jurancich wrote:

> And if you get it at the "Buy it now" price, it's still a good bargain.  
> If I wanted another copy (I have two), this would be a good buy. And I 
> would not trust the auction mentality that often runs prices up 
> astronomically.


You can order it from amazon.co.uk for about $141 with shipping. The buy 
it now price on this auction is $165.

I was lucky enough to get mine a couple years ago when amazon.uk was 
selling them for $40. I should have bought several....



Dawn



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In a message dated 12/3/2003 10:38:25 PM Eastern Standard Time, dawn@reddawn.net writes:

> You can order it from amazon.co.uk for about $141 with shipping. The buy 
> it now price on this auction is $165.
> 
> I was lucky enough to get mine a couple years ago when 
> amazon.uk was 
> selling them for $40. I should have bought several....

40 bucks??!?  I just got one off of ebay for $133, and I thought I got a great deal!  Unfortunately I said to my hubby when it arrived "Look at what you got me for Christmas."  He let me glance through it for about 1/2 hour, then took it away to be wrapped...<grrrrr>.  Live and learn, I guess
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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Not too much of a bargain. The buy it now price is $165 which is the same as
the retail price. Amazon has it for $165 and they do free shipping. Barnes
and Noble has it for $150 and I think their shipping is $5 or less.

----- Original Message ----- 
From: "Joan Jurancich" <joanmj@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 03, 2003 9:11 PM
Subject: Re: [h-cost] another eBay find


> And if you get it at the "Buy it now" price, it's still a good bargain.
If
> I wanted another copy (I have two), this would be a good buy. And I would
> not trust the auction mentality that often runs prices up astronomically.
> Joan
>
> At 05:33 PM 12/3/2003 -0800, you wrote:
> >For those looking for it, Queen Elizabeth's Wardrobe Unlock'd is up on
eBay.
>
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3571157070&category=2933
1
> >
> >It is a great book, and no I am not selling my copy. Just thought I would
> >share.
> >
> >Kimiko
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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From: "Sheridan & Shane" <shooie@sprint.ca>
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Subject: Re: [h-cost] 15th C gown  (long)
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> On Tue, 2 Dec 2003, I wrote:
>
> > Drat! I had been under the impression that the lady in this picture
> > was a donor. :-( This painting was part of a tryptich (sp?) as I
> > recall.

Robin wrote:
> The Moreel triptych, if my memory is right. I saw this one in Bruges, at
> the Groeninge Museum, which is probably the single best collection in the
> world if you're interested in 15th c. paintings of Flemish dress. (OK,
> maybe the Museum of Ancient Art in Brussels could top it.) A pretty
> typical triptych format is to have a devotional scene in the middle (say,
> a crucifixion) and the donors on the wings, with the donors accompanied by
> their patron saints (often standing behind the kneeling donor). In this
> one, without going back to look it up, I'd guess the men of the family are
> on the left wing with one saint, and the women on the right wing with
> another, in this case Barbara.
>

That's the one! Here are all the parts of it:
 http://gallery.euroweb.hu/art/m/memling/3mature3/25more.jpg

I wrote:
> > I have on my hard-drive at least a couple more examples (from 1450 to
> > 1480 or so) of this type of patterned fabric. One more gown similar to
> > the first one I posted, worn by the Magdalen; one is a sideless sucote
> > as worn by the paintings donor, two seem to be undergowns, and one
> > just pinned on sleeves. My thought had been to pattern the
> > construction on the gowns of the earlier part of the century, I had
> > just been pleased to find fabric so similar to the paintings I have.

Although it seems the fabric shows up predominantly in a religious context
now that I come to look at it again. This is also one of those sneaky artist
tricks to get your eyes to settle on the key players in a busy painting. Key
figures will be larger, or extravagently dressed, or placed in front of
something bright, so your eyes are drawn to them...

Robin wrote:
> That fabric does show up with some regularity. I'd love to know the sites
> on your examples, just to make sure I have the same ones somewhere in my
> collection.
>
> You'll find that sort of fabric on some "real" people, such as the woman
> in the goldsmith shop I cited earlier (Petrus Christus, St. Eligius
> depicted as a goldsmith). But you'll also find it on a lot of saints and
> other allegorical/religious figures. Your Magdalen will be one example --
> and bear in mind that often Magdalen is shown in deliberately over-the-top
> or "exotic" or "foreign" clothing, particularly by the second half of the
> 15th century, so there will likely be lots of cool bits to her outfit that
> would never have been seen on the street or in court.

This is the Magdalen picture, a Memling:
http://gallery.euroweb.hu/art/m/memling/5late/37nogr11.jpg

>
> The sideless surcotes will be more troublesome for you. By the early
> 1400s, they tend to show up only on women in the royal family, and
> typically in ceremonial circumstances; by the mid-1400s they appear to be
> artistic code for "queen" and appear almost exclusively on (1) royalty in
> ceremonial presentation, (2) royal saints, or (3) situations in which a
> woman is depicted symbolically in "queen's dress." So you might indeed
> have a donor in a sideless surcote, but the donor in such a case will
> almost certainly be a queen or duchess (and if she isn't, I definitely
> want to know about it), and the surcote will be code for her rank, not
> necessarily a garment she would own or wear. If the surcoted woman is
> standing behind a donor, she's almost certainly a saint, and I'd predict
> at least a 75% chance that she's Catherine, with a lesser chance of
> Barbara, Helena, or Ursula. Send me the cites and I'll let you know who
> you've got, assuming I have the images in my collection.
>
> (The above paragraph blows the punch line of one of my best lectures, as
> those of you who have heard me speak about surcotes will know ;-) )

Looking at the picture again, it seems likely to me that she is royalty of
some sort, there is a crown on her head and she is kneeling at the feet of
the Madonna, now if I could just remember where I found that painting, I
could post it here. :-)
 Ah ha! Found it, also a Memling:
http://gallery.euroweb.hu/art/m/memling/2middle2/13john2.jpg
Here's the close up:
http://gallery.euroweb.hu/art/m/memling/2middle2/13john21.jpg

Hmm, the sideless surcote may be a studio garment, look at the lady standing
on the far left of this painting...
http://gallery.euroweb.hu/art/m/memling/2middle3/13nodo2.jpg

> Of course, depending on your purpose, there's no reason you *can't* dress
> up as a saint, if it's acceptable in your circumstances to be wearing
> medieval fantasy costume. It's darn pretty. I wouldn't suggest it for an
> SCA competition, though, because it's probably not safe to speculate that
> the saints' dresses ever existed. They can be used with caution for
> guidance on certain elements, but only after you've got enough familiarity
> with iconographic code to be able to sift out the symbolic bits and
> correlate what's left with non-iconographic representations.
>
> --Robin

Taking in mind what you have said, if I ever enter this into competition it
will be for the construction rather than the fabric, though I could also use
the fabric as an example of a modern find of a medieval fabric pattern, just
not as part of the outfit if you see what I mean. :-)

And speaking of St Barbara here is a lovely drawing (waist seam clearly
showing, which was why I saved it and there's that fabric on her sleeves!)
http://cgfa.sunsite.dk/f/p-fvb1.htm

Another lovely Weyden tryptich with construction lines nicely showing:
http://gallery.euroweb.hu/art/w/weyden/rogier/10braque/3braque.jpg
False sleeves in a lovely brocade again, and an interesting hat.

Another Weyden with construction lines, and a hint at how to wrap those head
scarves:
http://gallery.euroweb.hu/art/w/weyden/rogier/05sevens/2sevens3.jpg

This is another Memling painting, she has a very fancy  under-dress
happening here:
http://gallery.euroweb.hu/art/m/memling/3mature1/17rein21.jpg

And one more with fancy underskirt by an Unknown master:
http://gallery.euroweb.hu/art/m/master/zunk_fl/15_paint/2/03gudulf.jpg

This was most of what I have collected up to this point by way of artwork, I
am in a small city with a very lousy library, so most of my initial resarch
has to be by the internet, I try to track down the appropriate books as best
I can later. I also make a pest of myself to more knowlegeable people. :-)

Sheridan





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Subject: Re: [h-cost] 15th C gown  (long)
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On Thu, 4 Dec 2003 00:17:23 -0500 "Sheridan & Shane" <shooie@sprint.ca>
writes:
> Looking at the picture again, it seems likely to me that she is 
> royalty of
> some sort, there is a crown on her head and she is kneeling at the 
> feet of
> the Madonna, now if I could just remember where I found that 
> painting, I
> could post it here. :-)
>  Ah ha! Found it, also a Memling:
> http://gallery.euroweb.hu/art/m/memling/2middle2/13john2.jpg
> Here's the close up:
> http://gallery.euroweb.hu/art/m/memling/2middle2/13john21.jpg


While I don't have Robin's expertise in this area, I have listened to her
lecture with rapt attention and I'd say that figure is meant to be St.
Catherine. If you look a bit closer (and tear your eyes away from the fab
brocade) you can see she is kneeling on both a wheel and a sword, both
attributes of St. Catherine. Combine that with Robin's statement that St.
Catherine gets to wear a sideless surcote as part of her iconography and
you can pertty much call her Kate! She is kneeling before the Madonna
because Mary is the Queen of Heaven and outranks everybody there,
especially when she has the infant Jesus on her lap. 


Karen

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 15th C gown
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On Wed, 3 Dec 2003, Catherine Olanich Raymond wrote:

<quoting Kat>
> > You can tell that it is not a donor by the iconography. Notice what
> > she holds in her hands. Those are her identifying symbols. The
> > kneeling ladies are more like the donors in terms of dress.
> 
> I can't even see her hands, Kat--to me it looks like her hands are
> busy with some drapery.

She is cradling a miniature tower in her right arm. The arm and hand are
covered with a draped mantle, but that tower is clearly sitting on the
forearm and being steadied by her hand. If you don't look closely it's
easy for your eyes to put the tower to proper size and assume it's
behind her in the distance.

> I couldn't remember what St. Barbara's attributes are, so I did a web
> search.  This page claims they are a chalice and a palm, and that she
> is often depicted with or near a tower.  (Or, sometimes, bizarrely
> enough, *holding* a tower.)  The palm seems right, and the page has a
> bunch of helpful images of Barbara from different periods:

The palm frond is the symbol of martyrdom, and is carried by those saints
who are also martyrs. The reference to the chalice surprises me, as I
don't think I've ever seen that applied to Barbara. Then again, there are
a number of saints with chalices, so maybe I've been missing some Barbaras
mixed in there. The Oxford Book of Saints cites only the tower.

> http://www.catholic-forum.com/saints/stb01001.htm

Lots of chalices in this set, but all from post-medieval art to my eye. I
wonder if the chalice became associated with her in more recent centuries;
my iconographic knowledge is pretty strictly limited to medieval
depictions.

I see that at least one image has a lightning bolt as well. That's because
Barbara is the patron saint of people struck by lightning or otherwise at
risk of sudden death. In her legend, her father (who had imprisoned her in
the tower) was killed by a lightning strike.

> This business of attributes may be just a Roman Catholic thing; the Greek 
> Catholic icons shown on the above site just show her holding a cross.

Yup. I'm married to a Greek Orthodox Christian. (I won't tell him you said
Greek Catholic!) His church just completed a huge renovation that included
the addition of many icons, and I was quite stumped by a lot of the images
because of the lack of attributes -- usually I can walk through a museum
and toss off saint ID's from a distance. My husband pointed out that
attributes were useful for a largely illiterate (Western) population of
churchgoers. The Greek tradition is simply to label the saints by name, in
writing. There are plenty of iconographic features in the Greek depictions
(e.g. specific saints have certain physical characteristics or are
depicted in certain poses) but rarely if ever do the Greek saints hold
attributes.

> 1)  The figure is shown kneeling.  I can't think of any examples where
> donors are *not* shown kneeling.

Good point, at least for donor panels. Not so useful for identifying stray
saints in other images, but donor panels are often the best place to look
for "real" images anyway, so that's a good rule of thumb.

(I can think of one medieval painting in which the saints are kneeling,
but that's actually a factor of the donor portraits being retrofitted into
saints by a later owner, so it doesn't count.)

> I remember that the sideless surcoat hung on as ceremonial wear for women 
> (real women) long after they ceased to be fashionable.  I believe Robin 
> alluded  to this fact as well.

Yes, but it's important to note that it was royal women who were wearing
them in ceremonial contexts, not non-royal noblewomen, with the possible
exception of brides at their weddings around mid-1400s, and in that case
it's because they were symbolically dressed as queens, so again it's a
question of *royal* ceremonial wear. (And for those, it's impossible to
tell whether this is only a convention of artwork and not something that
was done by live brides).

--Robin

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> Hi!  My SCA name is Giovanna, and I am new to this list.  I am fairly
> new to costuming, too, and I am always full of questions.  I have gotten
> a lot of really helpful information from reading the posts on this list,
> but I have a couple of questions I was wondering if anyone could help me
> with.
>
> When would they have started using cartridge pleating in Florence, and
> when did they start using corded petticoats or farthingales?  I am
> trying to put together a complete outfit from about the 1490s, and I am
> not sure if they would have used these.  I have been doing double box
> pleats, but I would like to get fuller skirts if that would be accurate.
>
>
> Thanks a lot!
>
> Giovanna

Hi Giovanna,

Do you have any pictures that you are working from?  I know of a great
painting that has several different styles of Italian Renn from the period
that you are wanting to do.  If you would like, I can scan the picture for
you and maybe some others.

As far as the pleating goes, box pleats are appropriate, gathering was
used, and cartridge pleating was used.  However.....the cartridge pleating
was minimalist.  The skirts are not as full as in later years and there
are not as many pleats.  They made the pleats pretty wide.  If you want to
contact me privately at dch@inreach.com, I can give you more details. 
Italian Renn is my specialty and I would be glad to help out since the
Italian styles are fabulously wonderful.

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 15th C gown  (long)
Date: Thu, 4 Dec 2003 01:23:54 -0500
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On Thursday 04 December 2003 12:38 am, seamstrix@juno.com wrote:
> On Thu, 4 Dec 2003 00:17:23 -0500 "Sheridan & Shane" <shooie@sprint.ca>
>
> writes:
> > Looking at the picture again, it seems likely to me that she is
> > royalty of
> > some sort, there is a crown on her head and she is kneeling at the
> > feet of
> > the Madonna, now if I could just remember where I found that
> > painting, I
> > could post it here. :-)
> >  Ah ha! Found it, also a Memling:
> > http://gallery.euroweb.hu/art/m/memling/2middle2/13john2.jpg
> > Here's the close up:
> > http://gallery.euroweb.hu/art/m/memling/2middle2/13john21.jpg
>
> While I don't have Robin's expertise in this area, I have listened to her
> lecture with rapt attention and I'd say that figure is meant to be St.
> Catherine. If you look a bit closer (and tear your eyes away from the fab
> brocade) you can see she is kneeling on both a wheel and a sword, both
> attributes of St. Catherine. Combine that with Robin's statement that St.
> Catherine gets to wear a sideless surcote as part of her iconography and
> you can pertty much call her Kate! 

I agree, but this is not the image that kicked off this thread.  :-)

> She is kneeling before the Madonna
> because Mary is the Queen of Heaven and outranks everybody there,
> especially when she has the infant Jesus on her lap.

I'd say you're right based on the broken wheel fragment and the sword, both of 
which are attributes of St. Catherine (and I oughta know)!  :-)

-- 
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] 15th C gown
Date: Thu, 4 Dec 2003 01:33:28 -0500
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On Thursday 04 December 2003 02:24 am, Robin Netherton wrote:
> On Wed, 3 Dec 2003, Catherine Olanich Raymond wrote:
>
> <quoting Kat>
>
> > > You can tell that it is not a donor by the iconography. Notice what
> > > she holds in her hands. Those are her identifying symbols. The
> > > kneeling ladies are more like the donors in terms of dress.
> >
> > I can't even see her hands, Kat--to me it looks like her hands are
> > busy with some drapery.
>
> She is cradling a miniature tower in her right arm. The arm and hand are
> covered with a draped mantle, but that tower is clearly sitting on the
> forearm and being steadied by her hand. If you don't look closely it's
> easy for your eyes to put the tower to proper size and assume it's
> behind her in the distance.

Yes, I see that now.  The way it's done, it doesn't even look as though her 
hand is supporting the tower, and I frankly ignored the tower in my effort to 
figure out if she was holding anything.  :-)

[snip]

> Lots of chalices in this set, but all from post-medieval art to my eye. I
> wonder if the chalice became associated with her in more recent centuries;
> my iconographic knowledge is pretty strictly limited to medieval
> depictions.]

Mostly post-medieval, but the iconography didn't change.  Or at least didn't 
change much; the chalice as attribute might be a post-medieval thing, I 
guess.

There is one medieval image on the page I gave the URL for; namely the first 
one on the left in the row captioned "other."  She's wearing green and 
holding a palm in one hand with a tower in the other.


[snip]
> > This business of attributes may be just a Roman Catholic thing; the Greek
> > Catholic icons shown on the above site just show her holding a cross.
>
> Yup. I'm married to a Greek Orthodox Christian. (I won't tell him you said
> Greek Catholic!) His church just completed a huge renovation that included
> the addition of many icons, and I was quite stumped by a lot of the images
> because of the lack of attributes -- usually I can walk through a museum
> and toss off saint ID's from a distance. My husband pointed out that
> attributes were useful for a largely illiterate (Western) population of
> churchgoers. The Greek tradition is simply to label the saints by name, in
> writing. There are plenty of iconographic features in the Greek depictions
> (e.g. specific saints have certain physical characteristics or are
> depicted in certain poses) but rarely if ever do the Greek saints hold
> attributes.

<grin>



> > 1)  The figure is shown kneeling.  I can't think of any examples where
> > donors are *not* shown kneeling.
>
> Good point, at least for donor panels. Not so useful for identifying stray
> saints in other images, but donor panels are often the best place to look
> for "real" images anyway, so that's a good rule of thumb.
>
> (I can think of one medieval painting in which the saints are kneeling,
> but that's actually a factor of the donor portraits being retrofitted into
> saints by a later owner, so it doesn't count.)

Fair enough.  Thanks.



> > I remember that the sideless surcoat hung on as ceremonial wear for women
> > (real women) long after they ceased to be fashionable.  I believe Robin
> > alluded  to this fact as well.
>
> Yes, but it's important to note that it was royal women who were wearing
> them in ceremonial contexts, not non-royal noblewomen, with the possible
> exception of brides at their weddings around mid-1400s, and in that case
> it's because they were symbolically dressed as queens, so again it's a
> question of *royal* ceremonial wear. (And for those, it's impossible to
> tell whether this is only a convention of artwork and not something that
> was done by live brides).

Fair enough again.



-- 
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: [h-cost] 15th C gown  (long)
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On Thu, 4 Dec 2003, Sheridan & Shane wrote:

> This is the Magdalen picture, a Memling:
> http://gallery.euroweb.hu/art/m/memling/5late/37nogr11.jpg

Very typical (by this time) "Magdalen" dress, in the style pioneered
several decades earlier by van der Weyden and contemporaries. I use this
one in my Magdalen lecture. Note her visible hair, compared to the other
ladies -- Magdalen will generally be the sexiest, flashiest, and most
dramatically posed of the lot.

> Looking at the picture again, it seems likely to me that she is royalty of
> some sort, there is a crown on her head and she is kneeling at the feet of
> the Madonna, now if I could just remember where I found that painting, I
> could post it here. :-)
>  Ah ha! Found it, also a Memling:
> http://gallery.euroweb.hu/art/m/memling/2middle2/13john2.jpg
> Here's the close up:
> http://gallery.euroweb.hu/art/m/memling/2middle2/13john21.jpg

Tee hee. This is Saint Catherine. The painting is Memling's very famous
"Mystic Marriage of St. Catherine" (you can see her getting a ring from
the baby Jesus, and on the floor beneath her are the wheel and sword, her
attributes). Yes, Memling mixed up the saint stories of Catherine of
Alexandria and Catherine of Siena, but no one seemed to care at the time.
That's Barbara reading at right, with her tower behind her. Note that
fabric again, as the cloth of honor behind the Virgin, and also on one of
the angel-musicians.

Memling did this painting for the Hospital of St. John in Bruges (working
from memory here, so I hope I have that right). The painting is still in
Bruges and is a central display in the Memling Museum, which is located in
the building that formerly housed the hospital. The painting itself is
enormous. It's a triptych, and this is the center panel.

> Hmm, the sideless surcote may be a studio garment, look at the lady
> standing on the far left of this painting...
> http://gallery.euroweb.hu/art/m/memling/2middle3/13nodo2.jpg

Memling was a popular painter, and his Mystic Marriage would have been
well known at the time. It was not uncommon for individual patrons to ask
an artist to re-paint a composition for their purchase. Memling did at
least three versions of this scene, and the painting you cite is one of
them -- the Donne Triptych, now at the National Gallery in London. Each of
the versions has differences in composition, as the figures get shuffled
around to accommodate the new patrons, different size of canvas, etc. In
this case, the painting is much smaller; Donne and his wife are moved into
the center panel, taking the positions flanking the throne, and the female
saints are moved back to a traditional standing position behind them.
Catherine is now not engaged in the mystic marriage, but instead is
presenting the donor to the infant Jesus.

> And speaking of St Barbara here is a lovely drawing (waist seam clearly
> showing, which was why I saved it and there's that fabric on her sleeves!)
> http://cgfa.sunsite.dk/f/p-fvb1.htm

You'll find waist seams on fitted dresses (real as well as unreal ones)
from the 1430s or so, while other examples continue to have no seam. I'm
inclined to think that both versions were in use at the same time for
decades. By the end of the century, the style shifts mostly to the waist
seams, as in this picture.

> Another lovely Weyden tryptich with construction lines nicely showing:
> http://gallery.euroweb.hu/art/w/weyden/rogier/10braque/3braque.jpg
> False sleeves in a lovely brocade again, and an interesting hat.

The Braque triptych. This is Magdalen again, one of several in which van
der Weyden painted her wearing the laced-front short-sleeved dress with
pin-on sleeves. He has at least three such Magdalens that show the seam
lines of this dress from different angles, but I'd advise some caution in
generalizing the construction, which may be specific to van der Weyden
Magdalens :-P The one at the Prado, in particular (a Descent from the
Cross) has been much discussed on this list for its weird skirt seaming.

Also much discussed here has been the "air filter hat." The way people
talk about it you'd think it was all over the place, but I know it only in
maybe three images, all by van der Weyden. If I'm remembering right, two
are Magdalens, and the third is an attendant of the Virgin (in the
Presentation at the Temple, I think). All are meant to be
historic/Biblical/foreign.  When I saw the Braque Magdalen at the Louvre I
was stunned to find that the hat is painted as having Hebrew writing going
around the outer edge of the hat, embroidered into the linen. (It's hard
to see in reproductions, but you can get a hint of the white-on-white
letters if you look to the right edge of the hat, where the veil crosses
over.) The Flemish painters often used fanciful hats to signify
exotic/foreign, and I am firmly of the opinion that this hat is just such
an invention (and may have been one of the painter's own props, since he
used it three times). It also has the echo of a turban, as many Magdalen
hats do.

> Another Weyden with construction lines, and a hint at how to wrap
> those head scarves:
> http://gallery.euroweb.hu/art/w/weyden/rogier/05sevens/2sevens3.jpg

This, from the Seven Sacraments, is the third of the three Magdalens I
referred to -- the others being the Prado Descent and the Braque triptych.
At least the headscarf is a lot more realistic in this one!

> This is another Memling painting, she has a very fancy  under-dress
> happening here:
> http://gallery.euroweb.hu/art/m/memling/3mature1/17rein21.jpg

Another Magdalen, of course. 

> And one more with fancy underskirt by an Unknown master:
> http://gallery.euroweb.hu/art/m/master/zunk_fl/15_paint/2/03gudulf.jpg

The Virgin on the left, Magdalen on the right in red, donor in the middle.
Weird facial expressions. I've seen this composition before, with the
people on the balcony in the background, but I don't think I've seen this
painting. The perspective is more bizarre than most. Love what the baby's
doing with the beads, though, even if his legs do look deformed.

> This was most of what I have collected up to this point by way of
> artwork, I am in a small city with a very lousy library, so most of my
> initial resarch has to be by the internet, I try to track down the
> appropriate books as best I can later. I also make a pest of myself to
> more knowlegeable people. :-)

And to think I did this before we *had* an internet. It's so easy now.

--Robin

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	<200312032053.55929.cathy@thyrsus.com>
Subject: Re: [h-cost] 12th c. bust support
Date: Thu, 4 Dec 2003 21:26:41 +1300
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> I don't disagree with that at all. However, Kat,  I was not addressing
your
> point with my comment.  I was reacting to the woman who said her breasts,
> though small, have always been floppy, even in adolescence.  I'd never
heard
> of that before.


Embarassing confession here, I am as well. Never been large, I'm barely an
A, and with a large rib cage so I have the same fitting issues as another
singer on the list (ribcage like a barrel, very long as well, had two
singing teachers go "ohhh, well, that's interesting..." at that stage
naturally like it, singing just accentuated it;) )

I think in my case, it was simply the tissue didn't develop fully.. I never
filled out as such. And even though I'm about 10k over the ideal of no
adipose on my frame;) Actually probably closer to 15.. ehem.. when I first
developed I didn't. So the extra adipose again just accentuated that natural
tendancy.

It makes fitting for costumes difficult, and probably is why I had to
experiment to find my own way of getting a good fit and supprt in a 15thC
kirtle. Not just small but the actual squish factor is different for me.

But being small, two layers of mid weight linen is all I need for support;)

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] 15th C gown  (long)
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Robin Netherton wrote:
> Also much discussed here has been the "air filter hat." The way people
> talk about it you'd think it was all over the place, but I know it only in
> maybe three images, all by van der Weyden.

There's one underneath the crown of a "three kings" but I don't recall 
the artist.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Baby t-shirts with medieval baby image -- great for your favorite 
Midwinter Holiday present.  http://www.virtue.to/store/ (other stuff too!)
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To: "Historical Costume" <h-costume@indra.com>
References: <62D49457.213B302C.3739C57F@aol.com>
Subject: Re: [h-cost] another eBay find
Date: Thu, 4 Dec 2003 08:25:30 -0500
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And my husband found mine somewhere on the net at $35!  Some clerk put the
book up at the wrong price.  The mistake was discovered about two days later
and the new price was $125. Of course they had to honor the previous price
for the lucky few who recognized the "bargain".
----- Original Message ----- 
From: <MysticsLady9@aol.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 03, 2003 11:17 PM
Subject: Re: [h-cost] another eBay find


> In a message dated 12/3/2003 10:38:25 PM Eastern Standard Time,
dawn@reddawn.net writes:
>
> > You can order it from amazon.co.uk for about $141 with shipping. The buy
> > it now price on this auction is $165.
> >
> > I was lucky enough to get mine a couple years ago when
> > amazon.uk was
> > selling them for $40. I should have bought several....
>
> 40 bucks??!?  I just got one off of ebay for $133, and I thought I got a
great deal!  Unfortunately I said to my hubby when it arrived "Look at what
you got me for Christmas."  He let me glance through it for about 1/2 hour,
then took it away to be wrapped...<grrrrr>.  Live and learn, I guess
> "Never interrupt your enemy while he is making a mistake"  Napoleon
Bonaparte
> _______________________________________________
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Subject: Re: [h-cost] 15th C gown  (long)
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Status: RO

Something very similar also shows up in depictions of 16th c. Irish
women.  Although it occurs to me, I think the artists in question were
*not* native Irish, so maybe that makes my Irish examples suspect as
well?
--sue

Robin Netherton wrote:
> 
 
> > Another lovely Weyden tryptich with construction lines nicely showing:
> > http://gallery.euroweb.hu/art/w/weyden/rogier/10braque/3braque.jpg
> > False sleeves in a lovely brocade again, and an interesting hat.
> <snipped>

> Also much discussed here has been the "air filter hat." The way people
> talk about it you'd think it was all over the place, but I know it only in
> maybe three images, all by van der Weyden. If I'm remembering right, two
> are Magdalens, and the third is an attendant of the Virgin (in the
> Presentation at the Temple, I think). All are meant to be
> historic/Biblical/foreign.  When I saw the Braque Magdalen at the Louvre I
> was stunned to find that the hat is painted as having Hebrew writing going
> around the outer edge of the hat, embroidered into the linen. (It's hard
> to see in reproductions, but you can get a hint of the white-on-white
> letters if you look to the right edge of the hat, where the veil crosses
> over.) The Flemish painters often used fanciful hats to signify
> exotic/foreign, and I am firmly of the opinion that this hat is just such
> an invention (and may have been one of the painter's own props, since he
> used it three times). It also has the echo of a turban, as many Magdalen
> hats do.
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Date: Thu, 4 Dec 2003 09:05:57 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 15th C gown  (long)
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On Thu, 4 Dec 2003, Cynthia Virtue wrote:

> Robin Netherton wrote:
> > Also much discussed here has been the "air filter hat." The way people
> > talk about it you'd think it was all over the place, but I know it only in
> > maybe three images, all by van der Weyden.
> 
> There's one underneath the crown of a "three kings" but I don't recall 
> the artist.

Male, in that case, then.

That wouldn't surprise me. The three kings (wise men) are excellent places
to look for "foreign/exotic" details. Often the artists use turban-like
hats for one or more of them.

I heard a paper at K'zoo a few years ago in which someone correlated a
bunch of the "foreign/exotic" hats that cropped up in 15th c.
Franco-Flemish art with actual headdresses that were seen when the king
and entourage of some Eastern country (Turkey?) visited Europe, an event
that received a great deal of public attention and involved some large and
showy pagaentry. She compared illustrations of the foreign visitors with
the examples that started appearing in religious art right around that
time, and made a very good case that a lot of the hat designs were based
on what the artists saw on the visitors (and what viewers of the art would
instantly recognize as Eastern). And then these designs were carried down
from one artist to another, becoming part of the artistic "code" for
foreigners.

If anyone needs a cite for that paper, I'll look it up for you; I have the
program book from that conference still. I believe she did eventually get
it published in _Dress_ or someplace similar, but I'm too loaded up to go
hunting it all up this second.

--Robin

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From: "Diane Maynard" <Camelothorse@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
References: <62D49457.213B302C.3739C57F@aol.com>
Subject: Re: [h-cost] another eBay find
Date: Thu, 4 Dec 2003 07:42:23 -0600
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This is not a great price unless this book is from the original printing in
which the photos are a little better quality (though not much).   I happen
to have both, an original and the reprint.    We managed to get the $40.00
reprint when Amazon "accidentally" put them on the market for that price.
It took them over 24 hours to discover their mistake but they honored the
copies sold at $40.00 and then put the price back up.    I cannot remember
who it was on this list that caught that mistake for us but, THANK YOU for
letting us know about the great price.   I use my reprint and have my
original safely packed away.

Diane

----- Original Message -----
From: <MysticsLady9@aol.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 03, 2003 10:17 PM
Subject: Re: [h-cost] another eBay find


> In a message dated 12/3/2003 10:38:25 PM Eastern Standard Time,
dawn@reddawn.net writes:
>
> > You can order it from amazon.co.uk for about $141 with shipping. The buy
> > it now price on this auction is $165.
> >
> > I was lucky enough to get mine a couple years ago when
> > amazon.uk was
> > selling them for $40. I should have bought several....
>
> 40 bucks??!?  I just got one off of ebay for $133, and I thought I got a
great deal!  Unfortunately I said to my hubby when it arrived "Look at what
you got me for Christmas."  He let me glance through it for about 1/2 hour,
then took it away to be wrapped...<grrrrr>.  Live and learn, I guess
> "Never interrupt your enemy while he is making a mistake"  Napoleon
Bonaparte
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Date: Thu, 4 Dec 2003 09:11:52 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 15th C gown  (long)
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On Thu, 4 Dec 2003, Sue Clemenger wrote:

> Something very similar also shows up in depictions of 16th c. Irish
> women.  Although it occurs to me, I think the artists in question were
> *not* native Irish, so maybe that makes my Irish examples suspect as
> well?

The examples I've seen involve wrapped turban-like headdresses, but unless
I'm remembering wrong, they didn't have the same clear structure of a
single linen band wrapped neatly in a spiral to form a hat. About all the
16th c. examples show is that different cultures have come up with various
ways to wrap linen strips into turban-like headdresses. I haven't seen any
good reason to draw a connecting line from the Irish examples to anything
being worn in Flanders of a century earlier (particularly since the hat
seems consistently absent from depictions of real women in 15th c.
Flanders). Though if someone can make a better case for a connection, I'd
be happy to hear it.

--Robin

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From: "Diane Maynard" <Camelothorse@earthlink.net>
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	<005201c3ba6a$17f2e580$695183d1@rmitchellras>
Subject: Re: [h-cost] another eBay find
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I had just sent an email about this.   That was your husband that found the
great deal ?    Tell him THANKS from all of us.

Diane

----- Original Message -----
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 04, 2003 7:25 AM
Subject: Re: [h-cost] another eBay find


> And my husband found mine somewhere on the net at $35!  Some clerk put the
> book up at the wrong price.  The mistake was discovered about two days
later
> and the new price was $125. Of course they had to honor the previous price
> for the lucky few who recognized the "bargain".
> ----- Original Message -----
>

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> Robin Netherton wrote:
> 
>> Also much discussed here has been the "air filter hat." The way people
>> talk about it you'd think it was all over the place, but I know it 
>> only in maybe three images, all by van der Weyden.

The closest non-van der Weyden version of it that I've ever seen is this 
one from a crucifixion scene attributed to Justus of Ghent (JOOS van 
Wassenhove), ca. 1460. I have no copy of the entire painting, only this 
B&W excerpt. He combines it with the peaked headgear that the other 
Flemish painters are so fond of. The hat also has writing around it, 
like the Magdalen hat. He may have been influenced by van der Weyden. In 
this case I believe it to be an "Old Testament" hat.
http://www.uvm.edu/%7Ehag/sca/15th/campbellp290.jpg

- Hope

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From h-costume-bounces@indra.com  Thu Dec  4 09:11:34 2003
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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 12th c. bust support - breast firmness
Date: Thu, 4 Dec 2003 09:16:24 -0500
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OK. Let's put the breast-firmness topic to bed.  I am one who has had
floppy, saggy breasts since I got them, suddenly when I gained weight at the
age of 16, I went from a saggy B- to a D.  My sister, on the other hand, has
firm, non-saggy C+ breasts and still does at the age of 43, and has never
really needed a bra.  I always have.  So, genetics play a role, and even at
the radiologist for a mamogram, they comment that I am much easier to get
good pictures on because my breasts are less dense. So there can be very
wide variability in breast density/firmness/sagginess, even within blood
relatives.
End of my information.
-Megan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Catherine Olanich Raymond
Sent: Wednesday, December 03, 2003 8:54 PM
To: Historical Costume
Subject: Re: [h-cost] 12th c. bust support


On Wednesday 03 December 2003 01:31 pm, kat@grendal.rain.com wrote:
> > Maybe this is a "breast firmness" issue, dictated by genetics more
> > than anything else?
>
> That could very well be. But the original point was that the breasts
> in art could be realistic as there are people who do have that shape
> even now.

I don't disagree with that at all. However, Kat,  I was not addressing your
point with my comment.  I was reacting to the woman who said her breasts,
though small, have always been floppy, even in adolescence.  I'd never heard
of that before.

>
> What we can't say is that all of them were that way, anymore than we
> can say none of them could be that way based on our own bodies.

Agreed.

--
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
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 There is a portrait of Dona Isabel de Porcel that I
have always found intriguing because her hair color is
very similar to mine. One of the decriptions of the
painting mention that she is wearing Andalusian
costume. Other than the obvious mantilla, what is
distinctive about the rest of the dress? Not a lot of
it is visible in the painting. 

=====
Aurum peccamenes multifariam texit

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I just saw an ad for a White Embroidery Machine model W3300 for $499.
Anybody know anything about it. Recommendations?
Kate


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>From: Robin Netherton <robin@shell.nightowl.net>
>...I see that at least one image has a lightning bolt as well. That's 
>because
>Barbara is the patron saint of people struck by lightning or otherwise at
>risk of sudden death. In her legend, her father (who had imprisoned her in
>the tower) was killed by a lightning strike.
>...

Which is why she's the patron of artillery and of people killed by gunshot.

(and just to keep this aimed at costuming)  Robin, I'm just curious - what 
sorts of clues are there that the sideless surcote becomes a symbol of 
magesty in the 14th century.  Not arguing, mind you - this is just new to 
me.

Marc

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Subject: [h-cost] QEWU and swimwear
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I was lucky enough to get mine a couple years ago when amazon.uk was 
selling them for $40. I should have bought several....

Dawn
>>>>>>>>>>>>>>>>>>>>>
I was lucky enough to get mine then too :), and I don't know how many
of my friends wished I had ordered multiples.  One of them recently got
a used copy, at a really great price, from Amazon.com.  Someone had
posted it under their resell services and apparently had not done their
research.  That might be another place to check regularly.

Regarding swimwear; naturally they built the new pool at the high
school the year after I graduated :).  We did have swim classes in
college (a catholic girl's college) with suits provided by the school. 
Lovely cotton knit one-pieces that none of use would be caught dead in
in public!

Catherine

PS to Linda:  Kansas did have hard alcohol sales in the 60's and 70's. 
It was liquor-by-the-drink that was illegal (thanks to Carrie Nation)
altho there was a way around it by belonging to a 'club'.

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Subject: Re: [h-cost] 12th c. bust support
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I grew very fast when I was 11 (six inches in 6 months, straight up). I
finally took hatha yoga when I was 18 to firm up certain areas, and it
worked great. Have excellent tone in the bust area to this day, some 28
years later. And that's without continuing the yoga. Lucky, I think!

Arlys


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Subject: Re: [h-cost] Mary of Burgundy
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She had to have plucked her hair--no one's brow is that high.

Arlys

On Wed, 3 Dec 2003 15:21:14 -0500 "Sheridan & Shane" <shooie@sprint.ca>
writes:
> Speaking of projects to do someday, this is the picture I have had on 
> my
> computer as wallpaper for the past year or so. That has to be one of 
> the
> most interesting hats!
> 
>  http://cgfa.sunsite.dk/unknown/p-unknown4.htm
> 
> Any guesses as to the gown she is wearing? There is a dress in the 
> Unicorn
> tapestries which is similar at the shoulders, but I thought those 
> gowns were
> likely fictional..
> 
> Sheridan
> 
> <><><><><><><><><><><><><><><><><>
> 
> ...it is well known that a vital ingredient of success is not 
> knowing that
> what you're attempting can't be done.
> 
> Terry Pratchett (Equal Rites)
> 
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Kat wrote:
>
> I think that you'd have to look at where they are doing their HG. If
> you are talking about food rich areas (such as in Africa), they are
> going to have an easier time of it than in other areas.
>
> I don't know why skeletally (which I think you mean by sketally) you
> would necessarily be able to tell. If there are certain types of
wear
> patterns on the bones or muscle attachments you could but there are
> other reasons why it might be the case, but levels of obesity vs
> normal weight would be difficult to tell.

The evidence most usually adduced for the superior nutrition of hunter
gatherer peoples to those dependent on agriculture is height. It's
fairly easy measuring that...
It's interesting, however, that medical textbooks are apparently still
reciting the 'Agriculture is progress' myth, long after it was brushed
under the carpet; it's another of the Victorian convictions  which was
abandoned in the face of an embarassing lack of evidence to support
it. Rather like the non-existent Aryan invaders who allegedly swept
into the Indus Valley conquering everything in sight a few thousand
years ago; it has to do with the personal beliefs of the people who
made it up, rather than any scientifically based argument on evidence.

best wishes
Stevie

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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] Mary of Burgundy
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My guess is that the dress is real and her finest attire. I bet some priest
got a nice sermon on that headdress as a primo example of the deadly sin of
vanity, though and the exposure of that hair, which would of course make
more females want to copy it. The forehead was probably plucked and or
shaved to get that line--wonder if the painter had to use a little artistic
license to erase any redness, swelling, or impending stubble, or if Mary had
had it plucked out for so long a time, the hair wouldn't grow back. It is
actually no different than all the hair removal systems and methods we are
obsessed with today.

Cindy Abel

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Date: Thu, 4 Dec 2003 11:56:10 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Sideless surcote (was: 15th c. gown)
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On Thu, 4 Dec 2003, Marc Carlson wrote:

> (and just to keep this aimed at costuming)  Robin, I'm just curious -
> what sorts of clues are there that the sideless surcote becomes a
> symbol of magesty in the 14th century.  Not arguing, mind you - this
> is just new to me.

I have an hour-plus lecture that lays it all out ;-) so it's hard to
encapsulate it in a post, particularly without the 70 or 80 slides that go
with it. But essentially if you look at who is shown wearing the style, it
changes from being a fairly common plain sleeveless surcote with
conservative side openings in the early 14th c., to a more luxuriant
overdress with scooped-in sides and fur trim worn by the very highest
nobility in the mid/late 14th c., to eventually appearing only on royal
women in highly formal contexts and also in allegorical circumstances
specifically referencing royalty. And by the late 15th c. it appears
primarily on *dead* royalty (e.g. royal saints, historic queens) and
extremely rarely on live queens, and then only in iconographic
presentations.

There's a lot more to it; I've correlated variations in the style
(particularly the fur use) with the various stages of its use in visual
depictions. And there are a lot of interesting examples that underscore
the use of the surcote as "royalty" code and as iconography for certain
royal saints. (In some of these images, you might think the women are
"regular" people until you find out just what is being illustrated, and it
turns out that the woman in the surcote is a queen, allegorical figure, or
royal saint.)

It's anyone's guess whether the dress continued to be worn well into the
1400s, even by queens for ceremonial wear. The surcotes may actually have
been trotted out just for coronations and weddings for a while. But the
the use of the dress in artwork may have been fossilized at any point in
the timeline, so it's hard to know when the gowns fell out of use
entirely. It's pretty clear, though, that by the late 1400s the gowns
probably didn't exist except in art (and perhaps occasional creations for
fancy-dress "historical queen" costume), as the artistic depictions start
showing weirdnesses inconsistent with any physically possible construction
method, suggesting that the artists had never seen them in life but were
simply repeating the artistic code for particular characters. These later
depictions tend to combine elements from more recent fashions, and also
show a lot of misunderstanding of layers and structure, which creates real
problems when you try to reproduce some of the late 15th-century examples
based on artwork.

This all came out of a content analysis of my collection of surcote
images, probably several hundred in all, that I did for a presentation at
the Medieval Congress (Kalamazoo) maybe 10 years ago. I classified the
images by time, style, and context, and they all fell out into some pretty
clear categories with distinct shifts in use by time period. I keep adding
to the collection. Ultimately I'll database it all and generate some
updated numbers, but everything I've added in the past decade has fallen
into the same patterns I identified with the original set.

(Yet one more paper I haven't had time to write up properly, partly
because of the time it will take to re-do the content analysis, and partly
at the thought of just how many images I'd need to pay for photo
permissions to use, assuming anyone would let me publish that many. I
probably have enough to do a small book on the style, but I can't see a
book on the sideless surcote as being in enough demand to make up printing
costs! But since I don't see myself having the time to write it in the
near future, this is moot point for now. I'll just keep collecting
surcotes in anticipation of the day I do. When the kids leave home,
perhaps.)

--Robin



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From: Ron Carnegie <r.carnegie@verizon.net>
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Subject: Re: Re: [h-cost] another eBay find
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> 
> From: "Diane Maynard" <Camelothorse@earthlink.net>
> Date: 2003/12/04 Thu AM 08:46:28 EST
> To: "Historical Costume" <h-costume@indra.com>
> Subject: Re: [h-cost] another eBay find
> 
> I had just sent an email about this.   That was your husband that found the
> great deal ?    Tell him THANKS from all of us.
> 
> Diane
> 
> ----- Original Message -----
> From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, December 04, 2003 7:25 AM
> Subject: Re: [h-cost] another eBay find
> 
> 
> > And my husband found mine somewhere on the net at $35!  Some clerk put the
> > book up at the wrong price.  The mistake was discovered about two days
> later
> > and the new price was $125. Of course they had to honor the previous price
> > for the lucky few who recognized the "bargain".
> > ----- Original Message -----
> >

  I was lucky enough to get two copies at that price thanks to this list, and as others have stated I have been kicked by friends for not getting more.  It has been mentioned that Amazon UK honored the price which is true but more importantly in my mind was what happened with my copies.  By the time I ordered they were out of stock on the book.  They had to order new ones and still honored the mistakenly entered price!  What customer service.

   Anotgher interesting thing I havent heard mentioned that was for one of the days it was mistakenly listed, the book actually made the bestseller list surpassing a newly released Harry Potter book!

Cheers,
Ron

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From h-costume-bounces@indra.com  Thu Dec  4 11:39:03 2003
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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20031204.074528.2012.6.Cley@juno.com>
Subject: Re: [h-cost] Mary of Burgundy
Date: Thu, 4 Dec 2003 11:38:02 -0500
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If someone repeatedly wears their hair pulled tightly back, after a while it
looks like that.
----- Original Message ----- 
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Cc: <h-costume@indra.com>
Sent: Thursday, December 04, 2003 10:38 AM
Subject: Re: [h-cost] Mary of Burgundy


> She had to have plucked her hair--no one's brow is that high.
>
> Arlys
>
> On Wed, 3 Dec 2003 15:21:14 -0500 "Sheridan & Shane" <shooie@sprint.ca>
> writes:
> > Speaking of projects to do someday, this is the picture I have had on
> > my
> > computer as wallpaper for the past year or so. That has to be one of
> > the
> > most interesting hats!
> >
> >  http://cgfa.sunsite.dk/unknown/p-unknown4.htm
> >
> > Any guesses as to the gown she is wearing? There is a dress in the
> > Unicorn
> > tapestries which is similar at the shoulders, but I thought those
> > gowns were
> > likely fictional..
> >
> > Sheridan
> >
> > <><><><><><><><><><><><><><><><><>
> >
> > ...it is well known that a vital ingredient of success is not
> > knowing that
> > what you're attempting can't be done.
> >
> > Terry Pratchett (Equal Rites)
> >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> ________________________________________________________________
> 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!
> _______________________________________________
> h-costume mailing list
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>
>

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Subject: [h-cost] new site for silk fabrics
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Hi list,  I tripped over this fabric site yesterday while searching for 
striped silk taffeta:

www.hyenaproductions.com

I don't remember ever seeing it mentioned here or linked from any of my 
favorite sites...

Cheers,
Heidi


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From: AnnBWass@aol.com
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Date: Thu, 4 Dec 2003 12:05:12 EST
Subject: Re: [h-cost] RE: Ecclesiastical Clothing
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As promised, I have checked my files for information on ecclesiastical 
clothing.  I don't seem to have saved the reference to cassocks, but remember that 
they were introduced during the Oxford Movement in the mid-19th century.  

The books that I used are as follows (all I copied was the references to the 
surplice, but you may be able to find references to the cassock):

George Tyack, "Historic Dress of the Clergy," London: William Andrews & Co., 
1897

"The Warham Guild Hnadbook," London: A.R. Mowbray & Co., Ltd., 1963

Percy Dearmer, "The Parson's Handbook," 12th ed., London: Oxford University 
Press, 1931.

Ann Wass
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Robin wrote:

-----Original Message-----
>> And one more with fancy underskirt by an Unknown master:
>> http://gallery.euroweb.hu/art/m/master/zunk_fl/15_paint/2/03gudulf.jpg
>
>The Virgin on the left, Magdalen on the right in red, donor in the middle.
>Weird facial expressions. I've seen this composition before, with the
>people on the balcony in the background, but I don't think I've seen this
>painting. The perspective is more bizarre than most. Love what the baby's
>doing with the beads, though, even if his legs do look deformed.

Ooooh! Another neat rosary picture!

I collect pictures that have rosaries, paternosters or other prayer beads in them, BTW, so if anyone else has references, I'd love to have them. Once I started focusing on them, it's amazing how many paintings have a rosary in them somewhere: being held in the hands of a portrait subject, hanging on the wall in the background, et cetera.

I'm working on a small theory, BTW: I have seen three paintings that have rosaries of red beads (probably coral) with "gauds" or marker beads that appear to be rock crystal. Two of the three are Madonna paintings with the infant Jesus playing with the beads; the third is from a painting I can't identify. (It's on a book cover and I'm sure it's mentioned somewhere in the book, but it's in German and I can't spot it.) I am wondering whether the coral/crystal combination is specific to the Madonna and child; more examples or counter-examples would be lovely.

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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In a message dated 12/4/2003 12:00:54 PM Eastern Standard Time, 
mudsleidi@cox.net writes:
www.hyenaproductions.com
Oh, wow!  These look to die for.
Ann Wass
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From h-costume-bounces@indra.com  Thu Dec  4 12:19:02 2003
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: [h-cost] 18TH/19TH CENTURY
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 There is a portrait of Dona Isabel de Porcel that I
> have always found intriguing because her hair color
> is
> very similar to mine. One of the decriptions of the
> painting mention that she is wearing Andalusian
> costume. Other than the obvious mantilla, what is
> distinctive about the rest of the dress? Not a lot
> of
> it is visible in the painting. 
> http://reisserbilder.at/index.asp?aid=1806
> =====
> Aurum peccamenes multifariam texit
> 
>
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=====
Aurum peccamenes multifariam texit

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Cathy Raymond wrote:

"I can't even see her hands, Kat--to me it looks like her hands are busy
with 
some drapery."

Look again, Cathy. The draped hands are holding a tower. St. Barbara's
symbol (or one of them) is the tower because she was locked up in one.

The pictures you linked to are interesting but they are all 19th-century
"sentimental" style art, or at least the ones that came in for me. If you
look at books of iconography, you'll find many examples. As far as the Greek
Orthodox symbol, or lack of one, I don't know. Greek Orthodox art is very
different from Western European, and does not allow much leeway. They have a
whole philosophy about writing icons (it's officially "writing," not
"drawing" or "painting") that, like the Greek Orthodox Church itself, is
very mystical. Saints are supposed to be actually present in the icon, in a
special way.

Robin, I sure wish you would write a book on this subject!!!! I understand
that you want to use tons of images, but if everyone stuck to presentations
only, we'd all be a lot poorer in knowledge!

Gail Finke


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Ah, I am certainly enjoying all these pictures! And all the knowledgeable
discussion. There's a Memling Museum??? Memling is my new favorite painter.
Every time I see a picture from this time that I particularly like, it's a
Memling.

Anyone know of any particularly good books of his pictures? Xmas is coming,
after all!

Gail Finke


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I can weigh in just a little on the Coral/Crystal 
combination.   Historically Coral is considered a "protection" or 
"protective" element for small children.  Hence why you see so many infants 
in portraits sporting red "coral" beads.  Also in respect to the Virgin and 
Child reference to the crystal may be an allusion to the Immaculate 
Conception.

Just something to muse on.
Mari / Bridgette

>Ooooh! Another neat rosary picture!
>
>I collect pictures that have rosaries, paternosters or other prayer beads 
>in them, BTW, so if anyone else has references, I'd love to have them. 
>Once I started focusing on them, it's amazing how many paintings have a 
>rosary in them somewhere: being held in the hands of a portrait subject, 
>hanging on the wall in the background, et cetera.
>
>I'm working on a small theory, BTW: I have seen three paintings that have 
>rosaries of red beads (probably coral) with "gauds" or marker beads that 
>appear to be rock crystal. Two of the three are Madonna paintings with the 
>infant Jesus playing with the beads; the third is from a painting I can't 
>identify. (It's on a book cover and I'm sure it's mentioned somewhere in 
>the book, but it's in German and I can't spot it.) I am wondering whether 
>the coral/crystal combination is specific to the Madonna and child; more 
>examples or counter-examples would be lovely.

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] new site for silk fabrics
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Heid---you evil(but nice) lady!---what yummy fabrics!!! Visions of Regency gowns are dancing in my head --not to mention the to-die-for italian silk brocades---with it's attendant visions of  16th century venetian style gowns. But I would most certainly BE dead if I attempt to compromise the family budget--even at their 'sale ' prices:(
Albra
(trying to wipe the drool off her keyboard)

Heidi Fox <mudsleidi@cox.net> wrote:
Hi list, I tripped over this fabric site yesterday while searching for 
striped silk taffeta:

www.hyenaproductions.com

I don't remember ever seeing it mentioned here or linked from any of my 
favorite sites...

Cheers,
Heidi


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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] new site for silk fabrics-Elizabethan alert
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 http://www.hyenaproductions.com/store+brocades.htm

ITALIAN SILK BROCADE
Garnet & Copper 
this bears a passing resemblance to some of the fabric
in Elizabeth R.
:)

--- Heidi Fox <mudsleidi@cox.net> wrote: > Hi list,  I
tripped over this fabric site yesterday
> while searching for 
> striped silk taffeta:
> 
> www.hyenaproductions.com
> 
> I don't remember ever seeing it mentioned here or
> linked from any of my 
> favorite sites...
> 
> Cheers,
> Heidi
> 
> 
> _______________________________________________
> 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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Oh,  Man,   Want....   Mari

>Hi list,  I tripped over this fabric site yesterday while searching for 
>striped silk taffeta:
>
>www.hyenaproductions.com
>
>I don't remember ever seeing it mentioned here or linked from any of my 
>favorite sites...
>
>Cheers,
>Heidi

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Subject: [h-cost] Sideless surcote (was: 15th c. gown)
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>From: Robin Netherton <robin@shell.nightowl.net>
>I have an hour-plus lecture that lays it all out ;-)

Yeah, but I haven't gotten to SEE that one yet :)

>with it. But essentially if you look at who is shown wearing the style, it
>changes from being a fairly common plain sleeveless surcote with
>conservative side openings in the early 14th c., to a more luxuriant
>overdress with scooped-in sides and fur trim worn by the very highest
>nobility in the mid/late 14th c., to eventually appearing only on royal
>women in highly formal contexts and also in allegorical circumstances
>specifically referencing royalty. And by the late 15th c. it appears
>primarily on *dead* royalty (e.g. royal saints, historic queens) and
>extremely rarely on live queens, and then only in iconographic
>presentations.

Hmm.  Interesting.  I've noticed some drawings of a particular style of boot 
from the late 1400s to the early mid 1500s that seems to be representative 
of a "working man/commoner's" boot when it shows up, although it's  a 
century or so out of the archaeology.    So I'm wondering about the whole 
represntation of the past as an icon for something else thing.

Marc

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Yes very yummy fabrics....but the site! Ugh! Shut off the awful music!!!! 

Anyway, the embroidered taffeta stripes are screaming a la Polonaise!
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Date: Thu, 4 Dec 2003 09:21:18 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Mary of Burgundy
References: <002601c3b9de$3f827b60$cb6afea9@shooie>
 <Pine.LNX.4.10.10312031734480.1173-100000@shell.nightowl.net>
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Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Wed, 3 Dec 2003, Sheridan & Shane wrote:
>
>> Speaking of projects to do someday, this is the picture I have had on
>> my computer as wallpaper for the past year or so. That has to be one
>> of the most interesting hats!
>>
>>  http://cgfa.sunsite.dk/unknown/p-unknown4.htm
>>
>> Any guesses as to the gown she is wearing? There is a dress in the
>> Unicorn tapestries which is similar at the shoulders, but I thought
>> those gowns were likely fictional..
>
>Good catch. This one, in my considered opinion, is fictional too, or at
>least makes use of certain "exotic" elements designed to signal that This
>Is Not A Real Person. The arrangement of the trim bandings on the bodice
>is a partial clue, but the screamingly obvious tipoff is the combination
>of the ointment jar and the turban: We are looking at Mary Magdalene. The
>ointment jar is her attribute, and the turban (particularly as shown here,
>mixed with more recognizable European headdress elements) is a standard
>"exotic/foreign" label used for Magdalen and certain other Biblical women.
>And I've seen at least three or four other paintings that show the
>Magdalen's hair coming out of the top of a headdress in a ponytail, as it
>does here.
>
>Yes, I know it says Mary of Burgundy at the top. That may or may not be
>accurate, as often such labels are added long after the painting is made.
>If it is indeed a portrait of Mary of Burgundy, it's Mary presented as the
>Magdalen. This isn't as strange as it sounds: I have at least six or seven
>examples from the late 1400s and early 1500s of women posing as the
>Magdalen, complete with jar. Mary Magdalen was an extremely popular saint,
>second only to the Virgin Mary. She also tended to be portrayed in artwork
>of this time as sexy, exotic, and fancily dressed. So apparently it wasn't
>unusual for women to have their portraits painted as her; I would guess
>that it gave them the excuse to be portrayed in Really Flashy Stuff while
>still being respectable.
>
>Now I need to find a copy of this in a book so I can photograph it (since
>I'm not likely to be in France anytime soon). This is an absolute
>must-have for the "Magdalen as Fashion Plate" section of my talk on
>saint's clothing.
>
>--Robin

Robin, Have you ever come across a Descent from the Cross from 
Onze-Lieve-Vrouw ter Poterie in Bruges?  It has the most over-the-top, 
fantasy Magdalen I have ever seen, but I couldn't get a picture (sniff!) 
It must be round about 1500, and IIRC, she is wearing a very exaggerated 
gable headdress with more turban-ish stuff on top!  And she's just 
sitting at the foot of the painting looking decorative, completely 
ignoring all the people lifting the body down and the Virgin fainting 
and everything.

I think I shall have to go back to Bruges some time and ask if I can 
photograph it.  (The guy at the museum was a bit intimidating)

Jean

-- 
Jean Waddie
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Mary of Burgundy
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On Thu, 4 Dec 2003, Jean Waddie wrote:

> Robin, Have you ever come across a Descent from the Cross from
> Onze-Lieve-Vrouw ter Poterie in Bruges?  It has the most over-the-top,
> fantasy Magdalen I have ever seen, but I couldn't get a picture
> (sniff!)  It must be round about 1500, and IIRC, she is wearing a very
> exaggerated gable headdress with more turban-ish stuff on top!  And
> she's just sitting at the foot of the painting looking decorative,
> completely ignoring all the people lifting the body down and the
> Virgin fainting and everything.

Been there! Seen it! Got the photo! I use it in my saints-dress talk when
I'm showing examples of Magdalene as an "exotic." She's a beaut -- the
headdress is sort of a turban with these big gold things on the front and
sides and back, plus she's got an overdress split down the side and
fastened with a brooch. Though she's not quite uninvolved from the action
-- she's praying, facing the Virgin (her back to Christ!). The other two
women have some rather wild headgear too, but Magdalen's the flashiest.

I didn't have any trouble taking photos at the OLVP Museum, but I was
there with a bunch of medievalists on an arranged trip, so that may have
helped. Also, I don't use a flash.

--Robin


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Robin wrote:
>> Another lovely Weyden tryptich with construction lines nicely showing:
>> http://gallery.euroweb.hu/art/w/weyden/rogier/10braque/3braque.jpg
>
>Also much discussed here has been the "air filter hat." The way people
>talk about it you'd think it was all over the place, but I know it only in
>maybe three images, all by van der Weyden. If I'm remembering right, two
>are Magdalens, and the third is an attendant of the Virgin (in the
>Presentation at the Temple, I think). All are meant to be
>historic/Biblical/foreign.  When I saw the Braque Magdalen at the Louvre I
>was stunned to find that the hat is painted as having Hebrew writing going
>around the outer edge of the hat, embroidered into the linen. (It's hard
>to see in reproductions, but you can get a hint of the white-on-white
>letters if you look to the right edge of the hat, where the veil crosses
>over.) The Flemish painters often used fanciful hats to signify
>exotic/foreign, and I am firmly of the opinion that this hat is just such
>an invention (and may have been one of the painter's own props, since he
>used it three times). It also has the echo of a turban, as many Magdalen
>hats do.

I seem to recall reading somewhere that this is a style of hat characteristic of gypsies in this particular time and place. Can't remember the source though.

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: [h-cost] memling and 15th century gown
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Yes, there is a Memling Museum, in the Hospital of St John (Sint 
Jaanshospitaal) in Bruges for which he painted the Ursula chest.  I 
spent a week in Bruges just going round in a blissful haze of Flemish 
masters!

And I've just found another cute painting, in the guidebook from the 
museum.  It's a 19th century painting of Memling painting the Ursula 
chest, and the nuns showing the nobles round to watch him.  The costumes 
of the nobles is a very strange mish-mash, but the lady at the front is 
wearing a dress in That Fabric, and a style clearly influenced by what 
saints wear in Memling paintings (although neither Ursula nor the Virgin 
wear that on the chest).  What fun!

Jean


Gail & Scott Finke <gailscott@eos.net> wrote
>
>Ah, I am certainly enjoying all these pictures! And all the knowledgeable
>discussion. There's a Memling Museum??? Memling is my new favorite painter.
>Every time I see a picture from this time that I particularly like, it's a
>Memling.
>
>Anyone know of any particularly good books of his pictures? Xmas is coming,
>after all!
>
>Gail Finke
>
>
>_______________________________________________
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-- 
Jean Waddie
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From h-costume-bounces@indra.com  Thu Dec  4 16:01:16 2003
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OK, I have a question about a new project and how the grain of the fabric will affect it.

I'm making a cyclas (very early version of what became the sideless surcote, but not sideless :) out of some nice fabric from the upholstery table. It has a very obviously one-way design, and I have about three yards of 60+ inch wide fabric. It's stiffish -- I haven't done a wash test yet to see if it's washable, but if it is, it might soften up some.

This style of overgown seems normally to be assembled out of front and back rectangular panels (with neckline cut out) and then lots of triangular gores at the sides. (It is sleeveless and has vertical-slit armholes, longer than normal armholes but nothing like the later sideless surcotes.)

The fabric is wide enough that I could cut one rectangular panel and one wide trapezoidal panel out of the width and have them both facing the same way. By "trapezoidal" I mean it's the shape you would get if you marked out a rectangular panel and then added the triangles to the sides that would be "gores" if you cut them out separately and attached them. But here you're cutting it all in one piece.

The rest of the fabric would then go into making triangular gores. (And yes, probably some of them would have the pattern upside down, but since I'm told medieval seamsters didn't care whether all the gores matched, I won't either.)

Here's my question: does the garment work better with the wide trapezoidal panel forming the back, and the rectangle + seamed gores forming the front?

I would guess it might, since that would put a large stiff area at the back, but provide seams where the garment might fold at the sides of the front. But my reasoning could be backward -- how would I tell?

TIA,

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In a message dated 12/4/2003 11:10:05 AM Pacific Standard Time, 
ladyforbeys@yahoo.com writes:
ITALIAN SILK BROCADE
Garnet & Copper 
this bears a passing resemblance to some of the fabric
in Elizabeth R.

Gorgeous fabrics!  Their prices though....whew!  Makes me glad I live so 
close to the garment district in Los Angeles!

Laura, 
Choreographer; Property Master
http://www.guildofstaugustine.org
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In a message dated 12/4/2003 9:27:37 AM Pacific Standard Time, 
gailscott@eos.net writes:
Robin, I sure wish you would write a book on this subject!!!! I understand
that you want to use tons of images, but if everyone stuck to presentations
only, we'd all be a lot poorer in knowledge!

To be honest with you, this time period never fascinated me before.  But in 
following this thread, and looking at all the portraits, I'll admit, I'm 
hooked!  If you wrote a book, I'd sure buy it.  Thank you all so much.

Laura, 
Choreographer; Property Master
http://www.guildofstaugustine.org
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I would be careful in dealing with this vendor.  I had a very nasty
experience when I asked if their silk velvet was 100% silk....they told me
it didn't exist and then went on to say when I pointed them to several sites
where it did exist that the other sites were lying!  As it turns out their
velvet is not 100% silk and they seemed to feel justified in advertising it
as such since they didn't believe there was such a thing?!?  Couldn't follow
the logic on that one!  

So buyer beware!  

Sg

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


www.hyenaproductions.com




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Subject: Re: [h-cost] Fabric drape & seams
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In a message dated 12/4/2003 4:01:17 PM Eastern Standard Time, 
claning@igc.org writes:

> Here's my question: does the garment work better with the wide trapezoidal 
> panel forming the back, and the rectangle + seamed gores forming the front?
> 

Hmmmm. This is not my period but...here's what comes to my mind.

The triangular gores added to a straight piece in this period are really more 
like joins than gores, no? By this I mean that one side of the triangle is on 
the straight and the other slopes on the bias. And you sew the straight of 
the triangle to the edge of the rectangle. So the straight of grain in the 
triangle and the grain of the rectangle are parallel. It falls as if it were the 
trapezoidal piece because there's no change in the grain of fabric.

If this is the case, and the front and back shapes are essentially the same, 
put the extra seams in the back and let the front be one beautiful unseamed 
piece. Just for looks.
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From: "ailith" <ailith@neo.rr.com>
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http://www-personal.umich.edu/~prayl/cooks/

Does anyone know anything about this painting? 

Thanks.
kate

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From h-costume-bounces@indra.com  Thu Dec  4 20:03:39 2003
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Subject: Re: RE: [h-cost] new site for silk fabrics-a word of caution
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Good to know, thank you!  That kind of attitude turns me off from purchasing--there's absolutely no reason to deliver poor customer service.

Though admittedly, I didn't see that their velvet is now listed as 100% silk.  It does mislead the customer who might not be familiar with the industry's tendency to list silk/rayon velvet simply as silk velvet and avoid listing the actual fiber content.  I just assumed it was 18% silk/82% rayon because they DIDN'T make the distinction.  I also realize they exaggerate when they claim "This is the softest, highest quality velvet."  Then you look at the price and realize you can find "silk" velvet for as low as $7.00 a yard elsewhere.

>sigh!< But gosh their embroidered and striped taffetas are sure puuuurrrdy to look at!

============================================================
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
Date: 2003/12/04 Thu PM 06:47:22 EST
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] new site for silk fabrics-a word of caution

I would be careful in dealing with this vendor.  I had a very nasty
experience when I asked if their silk velvet was 100% silk....they told me
it didn't exist and then went on to say when I pointed them to several sites
where it did exist that the other sites were lying!  As it turns out their
velvet is not 100% silk and they seemed to feel justified in advertising it
as such since they didn't believe there was such a thing?!?  Couldn't follow
the logic on that one!  

So buyer beware!  

Sg

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


www.hyenaproductions.com




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============================================================


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I am doing a small research project and would love recommendations for sources on Western fashion in British India and its effect upon fashion and/or ideas in the British mainland.  Was the clothing worn by British men and women remarkable in any way?  Was it exaggeratedly British or Western or less so?  How did fashion reach India and how did those in the British isles perceive it?  Thank you for any help.
Alexia
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ailith wrote:

>http://www-personal.umich.edu/~prayl/cooks/
>
>Does anyone know anything about this painting? 
>
>Thanks.
>kate
>  
>
Vincenzo Campi, 1580s
Kitchen
Oil on canvas
Pinacoteca di Brera, Milan
from http://gallery.euroweb.hu

liz young


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AlbertCat@aol.com wrote:
> The triangular gores added to a straight piece in this period are really more 
> like joins than gores, no? By this I mean that one side of the triangle is on 
> the straight and the other slopes on the bias. And you sew the straight of 
> the triangle to the edge of the rectangle. So the straight of grain in the 
> triangle and the grain of the rectangle are parallel. It falls as if it were the 
> trapezoidal piece because there's no change in the grain of fabric.

I was told that for this style, to put the bias of the gore against the 
straight grain of the body section, so you get the seam where 
gore-meets-gore through two straight grains.

However, I haven't tried it both ways to see if there's a difference in 
how it hangs.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From h-costume-bounces@indra.com  Thu Dec  4 21:12:29 2003
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From: "Signora Apollonia Margherita degli Albizzi" <apollonia@bellsouth.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Help Identifying a Painting
Date: Thu, 4 Dec 2003 21:12:51 -0500
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Ailith,

It's a Campi, and there are several of them.  You can see the others here...

http://homepage.mac.com/festive_attyre/research/workdiary/page1.html

Apollonia

Signora Apollonia Margherita degli Albizzi

Seneschal of the Incipient Canton of Salesberie Glen
Kingdom of Atlantia
www.livejournal.com/users/apollonia

**La vita senz'onore e un viver morto.**



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of ailith
Sent: Thursday, December 04, 2003 7:54 PM
To: Historical Costume
Subject: [h-cost] Help Identifying a Painting


http://www-personal.umich.edu/~prayl/cooks/

Does anyone know anything about this painting?

Thanks.
kate

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Organization: Medieval Hats: http://www.virtue.to
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Subject: [h-cost] Costume exhibit "lost" at airport
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Museum Exhibit Lost at Los Angeles Airport
2003-12-05
En route to an exhibit at the Middle Eastern Studies Association of 
North America conference in Anchorage, the world famous Palestine 
Costume Archive travelling exhibit was lost. Now a worldwide plea has 
gone out to help locate and return the exhibit to its rightful owners.

Lots more at: 
http://scatoday.net/story.php?search_id=N-20031204-193045-0003&PHPSESSID=6ea30ca59fa70feb2cbc9ba4e50270da

(For those unfamiliar with the SCA Today site, they carry articles about 
archeological & cultural news, as well as SCA-relevant stories.)
-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Baby t-shirts with medieval baby image -- great for your favorite 
Midwinter Holiday present.  http://www.virtue.to/store/ (other stuff too!)
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To: Historical Costume <h-costume@indra.com>
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Hi.  The one picture I can find, right off the bat (although I know I've
seen others--I just didn't save the links or posts because I don't like
the style <g>), is in my copy of Dunlevy, in the colored illos. section
between pages 80 and 81.  It's illustration #2, and the caption reads
(in part):
""Irish noblewoman and poor man painted by Lucas de Heere about 1575 but
based on an early sixteenth-century illustration.  The noblewoman...has
a linen roll brim to her felt hat,..."
It actually looks very similar to the the "bandage wrap" of the portrait
referred to in this thread, although the top part is definitely not
turban-y.
I think I've been linking them because all of the depictions I know of
16th c. Irish women (with the exception maybe of Geraldine Fitzgerald)
were done by foreigners, sometimes from second-hand accounts, and that
there was definitely present a "the Irish are foreign/strange/barbaric"
flavor to comments made about them then.  Plus, de Heere is Dutch (I
think), so maybe there's some sort of connection with the Flemish? Pure
speculation on my part.
Oh, wait.  I thought of an online source (and actually found it!):
http://www.reconstructinghistory.com/irish/headdress.html
--sue

Robin Netherton wrote:
> 
> On Thu, 4 Dec 2003, Sue Clemenger wrote:
> 
> > Something very similar also shows up in depictions of 16th c. Irish
> > women.  Although it occurs to me, I think the artists in question were
> > *not* native Irish, so maybe that makes my Irish examples suspect as
> > well?
> 
> The examples I've seen involve wrapped turban-like headdresses, but unless
> I'm remembering wrong, they didn't have the same clear structure of a
> single linen band wrapped neatly in a spiral to form a hat. About all the
> 16th c. examples show is that different cultures have come up with various
> ways to wrap linen strips into turban-like headdresses. I haven't seen any
> good reason to draw a connecting line from the Irish examples to anything
> being worn in Flanders of a century earlier (particularly since the hat
> seems consistently absent from depictions of real women in 15th c.
> Flanders). Though if someone can make a better case for a connection, I'd
> be happy to hear it.
> 
> --Robin
> 
> _______________________________________________
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: st. barabara
Date: Thu, 4 Dec 2003 22:37:10 -0500
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On Thursday 04 December 2003 12:19 pm, Gail & Scott Finke wrote:
> Cathy Raymond wrote:
>
> "I can't even see her hands, Kat--to me it looks like her hands are busy
> with
> some drapery."
>
> Look again, Cathy. The draped hands are holding a tower. St. Barbara's
> symbol (or one of them) is the tower because she was locked up in one.

 Robin explained this to me in an earlier post; but thanks for your time!
>
> The pictures you linked to are interesting but they are all 19th-century
> "sentimental" style art, or at least the ones that came in for me. 

There's a medieval one at the far left on the row labeled "Other".  :-)


>If you
> look at books of iconography, you'll find many examples. 

I know.  But I was looking for something I could give a URL to, since this 
list does not accept emails with attachments.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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	Fri, 05 Dec 2003 15:50:36 EST
Date: Fri, 5 Dec 2003 15:50:36 +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] December's Italian Showcase
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Greetings all,

it is once again time to announce the newest addition to the Italian Showcase at The Realm of
Venus.

This month's Showcase is a little late, but well worth waiting for, in my opinion. I introduce to
you Asa Gormsdottir, winner of Ealdormere's Pentathlon. She presented 5 entries based on 1495
Venice - a set of dresses, chopines, an illumination, a banquet translation and food entries.

I am delighted to present to you her "Set of handsewn dresses of burnt peach and dark copper silk,
and a pair of cork chopines, both circa 1495".

Grab a hot (or cold) drink, sit down and prepare for some great reading. :)




=====
**************************************** 
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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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: "Historical Costume" <h-costume@indra.com>
References: <001d01c3bacb$42f25110$9865fea9@VAIO>
Subject: Re: [h-cost] fashion in British India?
Date: Thu, 4 Dec 2003 21:33:28 -0800
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One place to start might be the exhibition catalog put out by the Met on
their Orientalism exhibit.  I believe it does have a section on India.

Martin, Richard and Harold Koda.  Orientalism:  Visions of the East in
Western Dress.  New York:  Metropolitan Museum of Art, 1994.

- Kendra
http://demode.tweedlebop.com/

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fashion in British India?
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>I am doing a small research project and would love recommendations for 
>sources on Western fashion in British India and its effect upon fashion 
>and/or ideas in the British mainland.  Was the clothing worn by British 
>men and women remarkable in any way?  Was it exaggeratedly British or 
>Western or less so?  How did fashion reach India and how did those in the 
>British isles perceive it?  Thank you for any help.

I have seen a couple of portraits of English in India, at various times 
during the English occupation of that country, and the English seem to have 
brought their fashions with them.  My guess is that European fashion 
reached India in the luggage of Europeans visiting that country, and didn't 
stray far from those visitors.

OTOH, printed cotton from India reached England in the mid-1600s, and there 
is a picture of a tunic-and-pants suit of it, worn by a European, somewhere 
in Boucher's 20,000 Years Of Fashion.  Shortly thereafter, India cotton 
prints were banned in England.

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

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Date: Fri, 05 Dec 2003 09:11:39 +0000
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I only know from Victorian novels that shawls were a popular item
brought or sent home from India. They were copied by manufacturers in
Paisley, Scotland, hence the "paisley pattern", originally an Indian
design motif.

Kate Bunting
Library, University of Derby
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Do you mean the Goya in the National Gallery, London?
http://cgfa.sunsite.dk/goya/p-goya31.htm 


>>> ladyforbeys@yahoo.com 12/4/03 2:25:33 PM >>>
 There is a portrait of Dona Isabel de Porcel that I
have always found intriguing because her hair color is
very similar to mine. One of the decriptions of the
painting mention that she is wearing Andalusian
costume. Other than the obvious mantilla, what is
distinctive about the rest of the dress? Not a lot of
it is visible in the painting. 

=====
Aurum peccamenes multifariam texit

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Hi,

I was wondering, in the 16th cent they use spiral lacing but how to they 
do the lacing in the 19th century???
Since my 1861 body is laced at the back..

Greetings,
        Deredere


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Subject: Re: [h-cost] Help Identifying a Painting
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----- Original Message ----- 
From: "ailith" <ailith@neo.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 05, 2003 11:53 AM
Subject: [h-cost] Help Identifying a Painting


> http://www-personal.umich.edu/~prayl/cooks/
> 
> Does anyone know anything about this painting? 
> 
What is that on the back of the woman in the pale green dress
(with her back to the viewer) with the coiled up braids? It
looks almost like she has a ruffle inserted in the seams of her
dress. If it's her apron tucked up it's done so very oddly....

Claire
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Quoting Carolyn Kayta Barrows <kayta@frys.com>:

> 
> >I am doing a small research project and would love recommendations for
> 
> >sources on Western fashion in British India and its effect upon fashion
> 
> >and/or ideas in the British mainland.  Was the clothing worn by British
> 
> >men and women remarkable in any way?  Was it exaggeratedly British or
> 
> >Western or less so?  How did fashion reach India and how did those in
> the 
> >British isles perceive it?  Thank you for any help.
> 

Are you looking at the whole period or specific years? there is lots of 
material in the records of the East India Company regarding the mutual 
influences between the countries. Basically, when they started sending Indian 
printed fabrics back to England in the 1600's, they really took off. It wasn't 
long before merchants in England were asking the indian manufacturers to alter 
their designs slightly to better fit the English taste - often this was 
removing a red or blue background in favour of the natrual white/cream, and 
reducing teh size of the patterns somewhat. Thus grew a HUGE trade in Indian 
printed calicos, chintz, cottons, which were adopted in England, and widely 
used in dress. there are still many examples of these printed dresses around - 
the V&A has some on display in the Nehru gallery, and it kicked off the whole 
printed fabric movement which made the British cotton industry so successful, 
influenced the silk patterns in the 18th c, and went on to the sprigged, floral 
muslins of teh early 19thc. Even gowns form the 1830's are made of Indian 
cottons, or indian inspired prints. I don't know how teh shape or construction 
of dress was changed, but certainly it had a profound impact on what dress 
looked like. 
this is just an overview (sorry to anyone who is more learned in this area), 
but there is lots of material (as it were) out there. Start with the fabric 
trade, and it gives a great idea of the mutual influences. Refrences - hmmm, 
haven't got the details here, but try Product Innovation in Early Modern 
London, by John Styles (can't remember if it's a chapter or article), and a 
recent article by Beverly Lemire in Textile, a new English journal launched 
this year, which discusses the visual influences. 
Hope this helps!

Hilary
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Date: Fri, 5 Dec 2003 14:26:25 +0000 (GMT)
From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Help Identifying a Painting
To: Historical Costume <h-costume@indra.com>
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those are her sleeves taken off her arms and tid
behind her back. I've seen SCA kitchens with this same
exact scenario. They look exactly like that.


 --- Purple Elephant <Lady_Angharad@bigpond.com>
wrote: > 
> ----- Original Message ----- 
> From: "ailith" <ailith@neo.rr.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, December 05, 2003 11:53 AM
> Subject: [h-cost] Help Identifying a Painting
> 
> 
> > http://www-personal.umich.edu/~prayl/cooks/
> > 
> > Does anyone know anything about this painting? 
> > 
> What is that on the back of the woman in the pale
> green dress
> (with her back to the viewer) with the coiled up
> braids? It
> looks almost like she has a ruffle inserted in the
> seams of her
> dress. If it's her apron tucked up it's done so very
> oddly....
> 
> Claire
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Aurum peccamenes multifariam texit

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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] 18TH/19TH CENTURY
To: Historical Costume <h-costume@indra.com>
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yes.

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: >
Do you mean the Goya in the National Gallery,
> London?
> http://cgfa.sunsite.dk/goya/p-goya31.htm 
> 
> 
> >>> ladyforbeys@yahoo.com 12/4/03 2:25:33 PM >>>
>  There is a portrait of Dona Isabel de Porcel that I
> have always found intriguing because her hair color
> is
> very similar to mine. One of the decriptions of the
> painting mention that she is wearing Andalusian
> costume. Other than the obvious mantilla, what is
> distinctive about the rest of the dress? Not a lot
> of
> it is visible in the painting. 
> 
> =====
> Aurum peccamenes multifariam texit
> 
>
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=====
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Subject: Re: [h-cost] new site for silk fabrics-a word of caution
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In a message dated 12/4/2003 6:50:08 PM Eastern Standard Time, 
saragrace@earthlink.net writes:
As it turns out their
velvet is not 100% silk and they seemed to feel justified in advertising it
as such since they didn't believe there was such a thing?!?  Couldn't follow
the logic on that one!  
They must not be aware that labeling of fiber content is regulated by federal 
law--the Textile Products Labeling Act.  Not only must fibers be labeled, 
they are supposed to be listed in order by weight.  Thus, a rayon/silk blend 
velvet should NOT be described as "20% silk, 80% rayon," and most certainly not as 
all silk.

Ann Wass
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Subject: Re: [h-cost] Help Identifying a Painting
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Some of the women in the painting appear to be wearing oversleeves. It
looks to me like the fabric is being drawing back from the shoulder
points and tied behind her back--looks like her oversleeves have been
removed from all points but the shoulders and tied behind her to get them
out of the way. Which makes sense if you are cooking.

Arlys

> What is that on the back of the woman in the pale green dress
> (with her back to the viewer) with the coiled up braids? It
> looks almost like she has a ruffle inserted in the seams of her
> dress. If it's her apron tucked up it's done so very oddly....
> 
> Claire


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> And my husband found mine somewhere on the net at $35!  Some clerk put
> the book up at the wrong price.  The mistake was discovered about two
> days later and the new price was $125. Of course they had to honor the
> previous price for the lucky few who recognized the "bargain". -----

And probably one of the reasons they discovered it that soon is that 
it was rapidly publicized on this list and many of our list members 
went out and immediately ordered it. With that many people ordering a 
book that hadn't moved that well before, it was a red flag that there 
was something wrong.

I remember that mistake. Many of my friends ended up getting more 
than one copy (giving the others away as gifts that year). I didn't 
get in on it as I already had a copy.

Kat
<kat@redtrollforge.com>


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From: Jen Small <jenrsmall@yahoo.com>
Subject: Re: [h-cost] Help Identifying a Painting
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This painting is by Vicenzo Campi, late 16th c.  Take a look at this and more of his work on Jennifer's great site:  http://homepage.mac.com/festive_attyre/research/wkclass/portfolio.html

Purple Elephant <Lady_Angharad@bigpond.com> wrote:
----- Original Message ----- 
From: "ailith" 
To: "Historical Costume" 
Sent: Friday, December 05, 2003 11:53 AM
Subject: [h-cost] Help Identifying a Painting


> http://www-personal.umich.edu/~prayl/cooks/
> 
> Does anyone know anything about this painting? 
> 
What is that on the back of the woman in the pale green dress
(with her back to the viewer) with the coiled up braids? It
looks almost like she has a ruffle inserted in the seams of her
dress. If it's her apron tucked up it's done so very oddly....

Claire
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From: "Sarah Jane Edwards" <1warcry@mtco.com>
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Subject: [h-cost] New, and a few questions
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Hello all;

  I am rather new to the world of early costuming, as my focus on costume
has been the 19th century for the past six years. However, since I am
getting rather bored with that time period, I am looking into earlier
periods and am finding delightful things.

  Right now I am wanting to make an outfit from the 11th century, (around
the time of Henry the First) but am rather confused. (So far, most of my
research has been through the web). The skirts seem rather full on womens
dress. Would this fullness result from triangular gores set into a
rectangular skirt, or would it be cut from a wide piece of fabric in a
semi-circular shape? I have seen many sites with patterns for early gowns,
but they call for the large widths of fabric. From my own 19th century
knowledge, I know that fabrics were much narrower then than they are now, so
if that was true in earlier periods, the inserted gore thing makes more
sense.

  I'm also wondering about lacing, in some images I've seen the gowns seem
rather closely fitted at the upper body, but the skirt flares out from the
waist down, to be in soft folds around the feet. This would seem to me to
necessiate some sort of opening to enable the woman to put her gown on.
Where would such an opening (if there indeed would be one) be located? I'm
assuming laces would be used to fasten it shut, but if I am wrong please
feel free to correct me with reproof and instruction. :)

Oh, one more thing. What kind of neckline would be appropriate? I've read
that earlier gowns had higher 'keyhole' necklines, and they got lower as the
years progressed. I was looking at a site today that had images from the
13th century, and the neckline seemed to be a very low boat shape. Would,
for this kind of neckline, a filler of some sort have been worn to protect
from cold?

  I am striving for authenticity, and don't want to start on my various
layers until I am fairly sure I am using period techniques.

  Please forgive me for what I'm sure seems such a basic question to you
all, I do appreciate any help you can give me!

Sarah

1warcry@mtco.com
http://web2k.mtco.com/ldepse

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Subject: Re: [h-cost] Help Identifying a Painting
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I believe she has oversleeves tied behind her back to keep them out of the 
way.

Kathleen
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Date: Fri, 05 Dec 2003 12:45:24 -0800
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Subject: Re: [h-cost] new site for silk fabrics-a word of caution
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> In a message dated 12/4/2003 6:50:08 PM Eastern Standard Time, 
> saragrace@earthlink.net writes:
> As it turns out their
> velvet is not 100% silk and they seemed to feel justified in
> advertising it as such since they didn't believe there was such a
> thing?!?  Couldn't follow the logic on that one!  They must not be
> aware that labeling of fiber content is regulated by federal law--the
> Textile Products Labeling Act.  Not only must fibers be labeled, they
> are supposed to be listed in order by weight.  Thus, a rayon/silk
> blend velvet should NOT be described as "20% silk, 80% rayon," and
> most certainly not as all silk.

I've noticed a lot of "100% silks" turning out to be silk/rayon 
blends. They get away with it by saying that the pile is silk, and 
that's where the fabric gets it's name from. (However, even as part 
of the backing, rayon can have a significant impact on how the fabric 
behaves.)

Kat
<kat@redtrollforge.com>


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From: Robin Netherton <robin@shell.nightowl.net>
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Just a note to explain my sudden silence -- yesterday I got a huge rush
deadline project dumped on me and it will be a while before I can come up
for air. There are four or five messages on current threads I want to
answer, but the conversation will have to go on without me for a couple of
days. If it's still alive when I come back, I'll jump back in.

--Robin


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Subject: [h-cost] Age of Charlemagne - Carolingian Dress
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Does anyone have any great pictorial reference books they would recommend to
me for researching this period? I've got some good references on Byzantine
Dress, but this is a bit earlier than most typical medieval periods.  This
is for theatrical research, and once I have a good handle on the period, I
will probably turn it into a very loosely based translation of the clothes
in colors ala our dear Teddy!  However, I would like a good working
knowledge of the clothing of France in 815 AD as a starting reference point.

thanks in advance

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

http://www.cabbagerosecostumes.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fashion in British India?
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>Are you looking at the whole period or specific years? there is lots of
>material in the records of the East India Company regarding the mutual
>influences between the countries.

I was looking at shape and style, not fabric.  I think shape and style were 
relatively un-affected on both sides.  But you're certainly right about fabric.

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

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Subject: [h-cost] V&A
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Status: RO

I know this has been asked before and I apologize for doing so again.  But does anyone have the contact info for the person at the V&A in-charge of the costume collection?  I've emailed the addy listed on their website but have received no response.

Thanks in advance the help.

Isabeau Q.
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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] new site for silk fabrics-a word of caution
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> I've noticed a lot of "100% silks" turning out to be silk/rayon
> blends. They get away with it by saying that the pile is silk, and
> that's where the fabric gets it's name from. (However, even as part
> of the backing, rayon can have a significant impact on how the fabric
> behaves.)

It's the other way around isn't it? Which is why you can acid etch the pile
but leave the backing mostly fine. Though there is still a componant of
rayon/viscose in the ground which can also be eaten.
http://www.fabrics.net/etch.asp
http://www.scarlet-zebra.com/Instructions/Devore1.htm

And also why the labels that tell the truth say rayon/viscose 70% silk 30%
or other such similar figure.

michaela
http://costumes.glittersweet.com


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> I know this has been asked before and I apologize for doing so again. 
> But does anyone have the contact info for the person at the V&A
> in-charge of the costume collection?  I've emailed the addy listed on
> their website but have received no response.

When I had my time in the V&A, the person who ws corresponding with 
me was Linda Woolley (Miss) who was the assistant curator. That was 
in 1999. The only contact information I had from them was the mailing 
address and telephone numbers for the V&A. I believe the telephone 
number has changed since then but at that time it was 0171-938 8500 
with the fax # 0171-938 8379. In their "Facts and Guidelines" for the 
Textiles and Dress Department it lists 0171-938 8420,  1, 2, 4 and 5 
("5 lines")

At that time they seemed to prefer snail mail. (I emailed, they 
snailed me back instead.)
.
Kat
<kat@redtrollforge.com>


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> > I've noticed a lot of "100% silks" turning out to be silk/rayon
> > blends. They get away with it by saying that the pile is silk, and
> > that's where the fabric gets it's name from. (However, even as part
> > of the backing, rayon can have a significant impact on how the
> > fabric behaves.)
> 
> It's the other way around isn't it? Which is why you can acid etch the
> pile but leave the backing mostly fine. Though there is still a
> componant of rayon/viscose in the ground which can also be eaten.
> http://www.fabrics.net/etch.asp
> http://www.scarlet-zebra.com/Instructions/Devore1.htm

I believe that you may be correct. But either way, they think that 
because part of it is "100% silk" that it should be considered as 
such.

> And also why the labels that tell the truth say rayon/viscose 70% silk
> 30% or other such similar figure.

It depends on the manufacturer from what I can tell. However, I 
haven't found any that were truly 100% silk. Every time it turns out 
to have some viscose/rayon in it. Sigh.

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Sat Dec  6 07:48:41 2003
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From: <joy@c17th.org>
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Subject: [h-cost] Help With a Vintage Vogue Pattern 
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Could any kind soul help me please. I'm making an evening gown for my
daughter for a very important Xmas dinner next friday. The pattern she
chose, (this week!!!!). Is a Vintage Vogue from 1931, pattern number 2241.
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.2241=x&TI
=20006&pageNum=2&M=&UK=31551149
Has anyone used this pattern? I'm having problems fitting as the armholes
seem huge!

thanks,regards
Joy
(who should have stuck to handsewing!)

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Date: Sat, 6 Dec 2003 22:48:47 -0500
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Subject: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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Mattel is actually selling a "Princess of the Vikings" collectible Barbie that 
wears a winged helmet and breastplate (over a dress with filmy flowing 
sleeves, yet).  Even the proponents of the "two panel" apron dress don't 
misrepresent Viking costume this badly:

http://www.barbiecollectibles.com/shop/product.aspx?product_id=60452&shelfID=150011
-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Good Lord, what a load of Wagnerian crap!!!!

T. Eacker

Catherine Olanich Raymond wrote:
> Mattel is actually selling a "Princess of the Vikings" collectible Barbie that 
> wears a winged helmet and breastplate (over a dress with filmy flowing 
> sleeves, yet).  Even the proponents of the "two panel" apron dress don't 
> misrepresent Viking costume this badly:
> 
> http://www.barbiecollectibles.com/shop/product.aspx?product_id=60452&shelfID=150011


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Catherine Olanich Raymond wrote:
> Mattel is actually selling a "Princess of the Vikings" collectible Barbie

The other barbies in the "world" collection are a hoot.  I would have 
*loved* to have them as a kid.  But I think I got more out of trying to 
sew my own costumes for the doll I did have.  Look under "Fantasy" on 
those pages for Barbie-as-romance-heroine, and Ken as, hmm, Fabio or 
somesuch.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
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On Sunday 07 December 2003 02:59 am, Cynthia Virtue wrote:
> Catherine Olanich Raymond wrote:
> > Mattel is actually selling a "Princess of the Vikings" collectible Barbie
>
> The other barbies in the "world" collection are a hoot.  I would have
> *loved* to have them as a kid.  But I think I got more out of trying to
> sew my own costumes for the doll I did have.  Look under "Fantasy" on
> those pages for Barbie-as-romance-heroine, and Ken as, hmm, Fabio or
> somesuch.

Yes, I looked at some of them.  If anyone else does so, note that there's an 
Arwen and Aragorn Barbie and Ken featured.  :-)

I think that the worst Barbies costume-wise are the ones dealing with costumes 
that are purely historical.  The "Princess of [Ancient] Greece Barbie was 
almost as bad as Viking Barbie, but the Japanese Barbie and the African 
Barbie (they did specify which country she was from, but I've forgotten) were 
not half bad, all things considered. 

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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On Sunday 07 December 2003 02:39 am, Theresa Eacker wrote:
> Good Lord, what a load of Wagnerian crap!!!!

Exactly.  And Bugs Bunny was better looking in the role.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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I've finally had time to troll through the various archeological links
(being home ill does that).  Came across this one which should be of interest
to those doing viking-era clothing:
http://www.24hourmuseum.org.uk/nwh/ART18650.html
Of interest is a good photo of a pair of tortise brooches found at the
burial site, and a photo of the _backs_ of the brooches.  

--Lee
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When I was trying to make an appointment, I used the email on the 
webpage.  It took awhile to hear back from them but eventually Susan North 
(head curator?) emailed me.  She then set up the appointment and one of the 
assistant curators were there for my appointment - which one depends on 
what you are viewing.

Good luck, it will probably just take some time.

cheers,
DAnielle

At 08:31 PM 12/5/2003 -0600, you wrote:
>I know this has been asked before and I apologize for doing so again.  But 
>does anyone have the contact info for the person at the V&A in-charge of 
>the costume collection?  I've emailed the addy listed on their website but 
>have received no response.
>
>Thanks in advance the help.
>
>Isabeau Q.

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Hello and welcome to the easy stuff.  I wouldn't put myself up as a 
great expert, but I'll try to give you an introduction, and I'm sure 
others will join in and correct me where I'm wrong.  I have to say I'm 
quite awed by someone who starts 19th century and moves down to early 
medieval, but I expect you're struggling with the lack of sources and 
patterns.

First thing, I would recommend you to this site:
http://www.virtue.to/articles/#Clothing and especially the basic garb 
instructions.

Second thing, never assume because they did or didn't have or know 
something in the 19th century, it was the same in the 11th or 12th. 
Take that back another 800 years and you have Romans, who knew a lot of 
stuff that was then lost in Western Europe for centuries.


Sarah Jane Edwards <1warcry@mtco.com> wrote
>Hello all;
>
>  I am rather new to the world of early costuming, as my focus on costume
>has been the 19th century for the past six years. However, since I am
>getting rather bored with that time period, I am looking into earlier
>periods and am finding delightful things.
>
>  Right now I am wanting to make an outfit from the 11th century, (around
>the time of Henry the First)
I assume you mean 1100s, 12th century.
>but am rather confused. (So far, most of my
>research has been through the web). The skirts seem rather full on womens
>dress. Would this fullness result from triangular gores set into a
>rectangular skirt, or would it be cut from a wide piece of fabric in a
>semi-circular shape? I have seen many sites with patterns for early gowns,
>but they call for the large widths of fabric. From my own 19th century
>knowledge, I know that fabrics were much narrower then than they are now, so
>if that was true in earlier periods, the inserted gore thing makes more
>sense.
>
The basic dress and tunic shape is a rectangular front and back with 
gores, either just at the sides or sides and front and back.  The basic 
dress does not have a waist seam (I'll come on to the controversies in a 
moment), but you can get a lot of skirt from gores.  I have seen 
patterns that cut the whole front and the whole back together.  However, 
in my experience, that leads to a dress that looks like the 2-D picture 
- triangular.  You want to cut the gores separately so that you have a 
straight grain all the way down from under your arm to the floor.

>  I'm also wondering about lacing, in some images I've seen the gowns seem
>rather closely fitted at the upper body, but the skirt flares out from the
>waist down, to be in soft folds around the feet. This would seem to me to
>necessiate some sort of opening to enable the woman to put her gown on.
>Where would such an opening (if there indeed would be one) be located? I'm
>assuming laces would be used to fasten it shut, but if I am wrong please
>feel free to correct me with reproof and instruction. :)
>
This depends which type of gown you are looking at, and the shape of the 
person.  As recently discussed here, without an opening, the waist 
cannot be any smaller than your bust, since it has to go over your head 
and past your bust.  But you have the front and back sewn directly 
together as far as the waist (or slightly above, depending how fast you 
need to flare for your tummy and hips) so it is more fitted at the waist 
and then flares.

 From perhaps 1230-ish they do start lacing to get a better fit around 
the torso.  We can't really tell whether this is done with an opening or 
just by pulling all the fabric in under the lacing, but if there is an 
opening it's most likely to be at the sides.  It's almost certainly not 
an opening all the way up to the neckline - you still have to pull it 
over your head, but it can expand as it goes past your bust and then you 
lace it tight around your ribs and waist.

Now, you may be looking at pictures of bliauts, the ones that appear to 
have a separate, tight bodice and heavily pleated skirt.  Nobody knows 
how these were made  - we're not even sure that the word "bliaut" refers 
to this style in period, or that they really existed rather than being a 
creation of a particular style of sculpture.  The idea of a waist seam 
is very controversial, since it doesn't appear in any other garment 
until the 15th century.  And the idea of a leather corset, which you 
will see put forward, is generally considered nowadays to be Right Out. 
The best guess, in  my view, is that extra fabric in the torso is 
tightly pulled in by lacing, and the pattern of gathering that this 
creates has been exaggerated by the artistic style of the time.  But I 
haven't tried to do one.  I think some people on the list have - can we 
have the benefit of your experience here, people?


>Oh, one more thing. What kind of neckline would be appropriate? I've read
>that earlier gowns had higher 'keyhole' necklines, and they got lower as the
>years progressed. I was looking at a site today that had images from the
>13th century, and the neckline seemed to be a very low boat shape. Would,
>for this kind of neckline, a filler of some sort have been worn to protect
>from cold?
>
There's an answer to that in the sources.  It's very difficult to tell 
what the neckline is on most female outfits of the period, because it's 
covered by their headcovering.  Veils/wimples/headrails are mostly still 
large and draped around the front of the neck until the late 12th 
century, so there's your filler.  Later, the artwork all shows veils 
just covering the head and hanging to the back, but I'm sure on a cold 
day they would pick up a spare length of cloth and wrap it round to keep 
warm.  Fashion photography never shows the model in her big coat and 
woolly hat between takes, after all :-)

>  I am striving for authenticity, and don't want to start on my various
>layers until I am fairly sure I am using period techniques.
>
>  Please forgive me for what I'm sure seems such a basic question to you
>all, I do appreciate any help you can give me!
>
>Sarah
>
>1warcry@mtco.com
>http://web2k.mtco.com/ldepse
>

I hope this gives you a start, don't be afraid to come back if you have 
more questions.

Jean

-- 
Jean Waddie
_______________________________________________
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>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] New, and a few questions
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Hello and welcome to the easy stuff.  I wouldn't put myself up as a 
great expert, but I'll try to give you an introduction, and I'm sure 
others will join in and correct me where I'm wrong.  I have to say I'm 
quite awed by someone who starts 19th century and moves down to early 
medieval, but I expect you're struggling with the lack of sources and 
patterns.

First thing, I would recommend you to this site:
http://www.virtue.to/articles/#Clothing and especially the basic garb 
instructions.

Second thing, never assume because they did or didn't have or know 
something in the 19th century, it was the same in the 11th or 12th. 
Take that back another 800 years and you have Romans, who knew a lot of 
stuff that was then lost in Western Europe for centuries.


Sarah Jane Edwards <1warcry@mtco.com> wrote
>Hello all;
>
>  I am rather new to the world of early costuming, as my focus on costume
>has been the 19th century for the past six years. However, since I am
>getting rather bored with that time period, I am looking into earlier
>periods and am finding delightful things.
>
>  Right now I am wanting to make an outfit from the 11th century, (around
>the time of Henry the First)
I assume you mean 1100s, 12th century.
>but am rather confused. (So far, most of my
>research has been through the web). The skirts seem rather full on womens
>dress. Would this fullness result from triangular gores set into a
>rectangular skirt, or would it be cut from a wide piece of fabric in a
>semi-circular shape? I have seen many sites with patterns for early gowns,
>but they call for the large widths of fabric. From my own 19th century
>knowledge, I know that fabrics were much narrower then than they are now, so
>if that was true in earlier periods, the inserted gore thing makes more
>sense.
>
The basic dress and tunic shape is a rectangular front and back with 
gores, either just at the sides or sides and front and back.  The basic 
dress does not have a waist seam (I'll come on to the controversies in a 
moment), but you can get a lot of skirt from gores.  I have seen 
patterns that cut the whole front and the whole back together.  However, 
in my experience, that leads to a dress that looks like the 2-D picture 
- triangular.  You want to cut the gores separately so that you have a 
straight grain all the way down from under your arm to the floor.

>  I'm also wondering about lacing, in some images I've seen the gowns seem
>rather closely fitted at the upper body, but the skirt flares out from the
>waist down, to be in soft folds around the feet. This would seem to me to
>necessiate some sort of opening to enable the woman to put her gown on.
>Where would such an opening (if there indeed would be one) be located? I'm
>assuming laces would be used to fasten it shut, but if I am wrong please
>feel free to correct me with reproof and instruction. :)
>
This depends which type of gown you are looking at, and the shape of the 
person.  As recently discussed here, without an opening, the waist 
cannot be any smaller than your bust, since it has to go over your head 
and past your bust.  But you have the front and back sewn directly 
together as far as the waist (or slightly above, depending how fast you 
need to flare for your tummy and hips) so it is more fitted at the waist 
and then flares.

 From perhaps 1230-ish they do start lacing to get a better fit around 
the torso.  We can't really tell whether this is done with an opening or 
just by pulling all the fabric in under the lacing, but if there is an 
opening it's most likely to be at the sides.  It's almost certainly not 
an opening all the way up to the neckline - you still have to pull it 
over your head, but it can expand as it goes past your bust and then you 
lace it tight around your ribs and waist.

Now, you may be looking at pictures of bliauts, the ones that appear to 
have a separate, tight bodice and heavily pleated skirt.  Nobody knows 
how these were made  - we're not even sure that the word "bliaut" refers 
to this style in period, or that they really existed rather than being a 
creation of a particular style of sculpture.  The idea of a waist seam 
is very controversial, since it doesn't appear in any other garment 
until the 15th century.  And the idea of a leather corset, which you 
will see put forward, is generally considered nowadays to be Right Out. 
The best guess, in  my view, is that extra fabric in the torso is 
tightly pulled in by lacing, and the pattern of gathering that this 
creates has been exaggerated by the artistic style of the time.  But I 
haven't tried to do one.  I think some people on the list have - can we 
have the benefit of your experience here, people?


>Oh, one more thing. What kind of neckline would be appropriate? I've read
>that earlier gowns had higher 'keyhole' necklines, and they got lower as the
>years progressed. I was looking at a site today that had images from the
>13th century, and the neckline seemed to be a very low boat shape. Would,
>for this kind of neckline, a filler of some sort have been worn to protect
>from cold?
>
There's an answer to that in the sources.  It's very difficult to tell 
what the neckline is on most female outfits of the period, because it's 
covered by their headcovering.  Veils/wimples/headrails are mostly still 
large and draped around the front of the neck until the late 12th 
century, so there's your filler.  Later, the artwork all shows veils 
just covering the head and hanging to the back, but I'm sure on a cold 
day they would pick up a spare length of cloth and wrap it round to keep 
warm.  Fashion photography never shows the model in her big coat and 
woolly hat between takes, after all :-)

>  I am striving for authenticity, and don't want to start on my various
>layers until I am fairly sure I am using period techniques.
>
>  Please forgive me for what I'm sure seems such a basic question to you
>all, I do appreciate any help you can give me!
>
>Sarah
>
>1warcry@mtco.com
>http://web2k.mtco.com/ldepse
>

I hope this gives you a start, don't be afraid to come back if you have 
more questions.

Jean

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

From h-costume-bounces@indra.com  Sun Dec  7 05:22:04 2003
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Date: Sat, 6 Dec 2003 20:27:03 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Mary of Burgundy
References: <KjOA4KGOyvz$Iw39@montgomerie.demon.co.uk>
 <Pine.LNX.4.10.10312041519160.8176-100000@shell.nightowl.net>
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Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Thu, 4 Dec 2003, Jean Waddie wrote:
>
>> Robin, Have you ever come across a Descent from the Cross from
>> Onze-Lieve-Vrouw ter Poterie in Bruges?  It has the most over-the-top,
>> fantasy Magdalen I have ever seen, but I couldn't get a picture
>> (sniff!)  It must be round about 1500, and IIRC, she is wearing a very
>> exaggerated gable headdress with more turban-ish stuff on top!  And
>> she's just sitting at the foot of the painting looking decorative,
>> completely ignoring all the people lifting the body down and the
>> Virgin fainting and everything.
>
>Been there! Seen it! Got the photo! I use it in my saints-dress talk when
>I'm showing examples of Magdalene as an "exotic." She's a beaut -- the
>headdress is sort of a turban with these big gold things on the front and
>sides and back, plus she's got an overdress split down the side and
>fastened with a brooch. Though she's not quite uninvolved from the action
>-- she's praying, facing the Virgin (her back to Christ!). The other two
>women have some rather wild headgear too, but Magdalen's the flashiest.
>
>I didn't have any trouble taking photos at the OLVP Museum, but I was
>there with a bunch of medievalists on an arranged trip, so that may have
>helped. Also, I don't use a flash.
>
>--Robin
>
Do you have the name of the painter, or is it Anon?

I went on a very wet Friday afternoon, off-season, I was the only person 
there and I had the impression it was the caretaker rather than a 
curator manning the ticket desk, and he was just watching to make sure I 
didn't touch anything.  Not a comfortable and welcoming experience, 
although the place itself was fab.

Jean

-- 
Jean Waddie
_______________________________________________
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From h-costume-bounces@indra.com  Sun Dec  7 10:44:15 2003
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: [h-cost] Cornell's online collection - mostly 18c
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This site is supposed to have over 600 photos and 5000 records from Cornell's collection.  Have fun!

http://char.txa.cornell.edu/treasures/index.html

Lisa Sinervo
www.thrednedlestrete.com
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] feedback on commercial pattern
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Rima wrote on 10/15/03:
>
> Which brings me to my REAL question.   A couple of years ago I was on
> this list, and someone mentioned that they were writing a "Geometry
> for Non-Pro Pattern Makers" book.    I NEED this book!    Please
> please, if you're out there, and you've published, let me send you
> money!  ;-D   Or if you're still in process, can I please be your
> proof reader???
>
> I've gotten pretty good at freehanding a sleeve cap to fit an
> armhole, but wouldn't it be better if I could just do the math?????

Rima, you can buy a plastic french curves to eliminate freehanding sleeve
caps etc. Just about any fabric store sells these things.  I also have a
bendable lead filled "yard stick" that has come in handy.

Lisa Sinervo
www.thrednedlestrete.com


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Subject: The poison dress was Re: [h-cost] Re: elizabeth
Date: Sun, 7 Dec 2003 08:47:40 -0800
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Gail wrote on Nov. 13th:


> 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."

Actually this does have some historical inspiration.  Janet Arnold in QEWU
on page 179 writes:

"In 1568 Walsingham had a report from Franchiotto, an Italian, about the
danger of poison and to have great care for the Queen.  When Platter visited
Nonsuch in 1599, he noted that 'but a short time before, an attempt had been
made to poison the queen by smearing powder on the chair she was accustomed
to sit and hold her hands on', and that she 'refused to allow anyone into
her apartments without mylord Admiral's command.

It seems likely that the work rooms in which most of the Queen's clothes
were made were at the Great Wardrobe, near the livery tailoring workrooms.
Her hats and shoes may have been made in the craftsmen's own workships, but
security would have been much easier in a restricted area.  No doubt is was
Ralph Hope's job to examine all the work and gifts of clothing carefully to
make sure nothing was poisoned."

Lisa Sinervo
www.thrednedlestrete.com



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] real viking fashion
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On Sunday 07 December 2003 04:20 am, Lee Thompson-Herbert wrote:
> I've finally had time to troll through the various archeological links
> (being home ill does that).  Came across this one which should be of
> interest to those doing viking-era clothing:
> http://www.24hourmuseum.org.uk/nwh/ART18650.html
> Of interest is a good photo of a pair of tortise brooches found at the
> burial site, and a photo of the _backs_ of the brooches.

Thanks much.


-- 
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: [h-cost] Caraco Picture
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Could somebody please point me in the direction of a picture circa 1853 of a
Caraco Please ?

Thanks

Mel

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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At 04:07 AM 12/7/2003 -0500, you wrote:
>but the Japanese Barbie and the African
>Barbie (they did specify which country she was from, but I've forgotten) were
>not half bad, all things considered.


I bought the Japanese Barbie from Toys R Us when they were on sale. I just 
had to, as I loved them as a kid and was glad to see something of my own 
heritage in a Barbie. I only wish they could make the face less western and 
more Asian. But otherwise, it really isn't too bad.

Kimiko



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

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

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Subject: Re: [h-cost] New, and a few questions
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----- Original Message ----- 
From: "Jean Waddie" <anne@montgomerie.demon.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Cc: <h-costume@net.indra.com>
Sent: Sunday, December 07, 2003 9:18 PM
Subject: Re: [h-cost] New, and a few questions


> Sarah Jane Edwards <1warcry@mtco.com> wrote
> >Hello all;
> >
> >
> >  Right now I am wanting to make an outfit from the 11th century, (around
> >the time of Henry the First)
> I assume you mean 1100s, 12th century.
Henry I's reign began at the end of the 11th century I think, so it
just qualifies. Henry II began in 1152 or so, if that what you're thinking
of....
> >but am rather confused. (So far, most of my
> >research has been through the web). The skirts seem rather full on womens
> >dress. Would this fullness result from triangular gores set into a
> >rectangular skirt, or would it be cut from a wide piece of fabric in a
> >semi-circular shape? I have seen many sites with patterns for early
gowns,
> >but they call for the large widths of fabric. From my own 19th century
> >knowledge, I know that fabrics were much narrower then than they are now,
so
> >if that was true in earlier periods, the inserted gore thing makes more
> >sense.
> >
> The basic dress and tunic shape is a rectangular front and back with
> gores, either just at the sides or sides and front and back.  The basic
> dress does not have a waist seam (I'll come on to the controversies in a
> moment), but you can get a lot of skirt from gores.  I have seen
> patterns that cut the whole front and the whole back together.  However,
> in my experience, that leads to a dress that looks like the 2-D picture
> - triangular.  You want to cut the gores separately so that you have a
> straight grain all the way down from under your arm to the floor.
Depending on your fabric width, a combination of both can work
ok.
>
> >  I'm also wondering about lacing, in some images I've seen the gowns
seem
> >rather closely fitted at the upper body, but the skirt flares out from
the
> >waist down, to be in soft folds around the feet. This would seem to me to
> >necessiate some sort of opening to enable the woman to put her gown on.
> >Where would such an opening (if there indeed would be one) be located?
I'm
> >assuming laces would be used to fasten it shut, but if I am wrong please
> >feel free to correct me with reproof and instruction. :)
> >
> This depends which type of gown you are looking at, and the shape of the
> person.  As recently discussed here, without an opening, the waist
> cannot be any smaller than your bust, since it has to go over your head
> and past your bust.  But you have the front and back sewn directly
> together as far as the waist (or slightly above, depending how fast you
> need to flare for your tummy and hips) so it is more fitted at the waist
> and then flares.
>
>  From perhaps 1230-ish they do start lacing to get a better fit around
Errr...do you mean 1130? I think they may even have started a bit
earlier, as even a bit into the 11th century you see some attempt at
shaping to the waist, although this may be the sort of thing Jean
describes above rather than lacing per se.
> the torso.  We can't really tell whether this is done with an opening or
> just by pulling all the fabric in under the lacing, but if there is an
> opening it's most likely to be at the sides.  It's almost certainly not
Definitely agree there. Western Europe doesn't seem to have
gotten the idea of a (complete) CF or CB opening until the 14th
century.
> an opening all the way up to the neckline - you still have to pull it
> over your head, but it can expand as it goes past your bust and then you
> lace it tight around your ribs and waist.

Imagine if you will two rectangles - you would sew them together
down the sides and have an unfitted tunic. Now cut a curve
between the waist and the bust that is roughly you-shaped. This curve
was left open and then sewn or laced closed after putting it on.
If the shoulders are wide enough and the gown cut fairly tightly
across the under/lower bust (about the level of the armpit whatever
that works out to on you) you get a nice 'pocket' for the bust and
a fairly close fit around the ribs.

> Now, you may be looking at pictures of bliauts, the ones that appear to
> have a separate, tight bodice and heavily pleated skirt.  Nobody knows
> how these were made  - we're not even sure that the word "bliaut" refers
> to this style in period, or that they really existed rather than being a
> creation of a particular style of sculpture.  The idea of a waist seam
> is very controversial, since it doesn't appear in any other garment
> until the 15th century.  And the idea of a leather corset, which you
> will see put forward, is generally considered nowadays to be Right Out.
> The best guess, in  my view, is that extra fabric in the torso is
> tightly pulled in by lacing, and the pattern of gathering that this
> creates has been exaggerated by the artistic style of the time.  But I
> haven't tried to do one.  I think some people on the list have - can we
> have the benefit of your experience here, people?
I have found that you don't need to do much beyond making a tunic
style gown with the sides cut out and laced to get something that looks
relatively like the pictures and sculptures. You don't even need the
extra length in the torso to get the wrinkling (unless you want an
awful lot of wrinkling), because the effect of lacing such a crude style
of fit will give you that anyway (as anyone who has tried to make
a tight fitting bodice without boning or very very careful fit can
probably tell you). Also, the non-separate skirt, with plenty of inserted
gores falls much like the pattern of folds you see in artwork (although
they definitely exaggerated there a bit). The lacing helps here again
as it kind of gives a bit of a hitch to the skirts at the side and you
get that kind of u-shaped drape across the lap area.
On the other hand, some people are fairly convinced that you
need a waist seam for this style, and the arguments are probably
just as good either way.
>
>
> >Oh, one more thing. What kind of neckline would be appropriate? I've read
> >that earlier gowns had higher 'keyhole' necklines, and they got lower as
the
> >years progressed. I was looking at a site today that had images from the
> >13th century, and the neckline seemed to be a very low boat shape. Would,
> >for this kind of neckline, a filler of some sort have been worn to
protect
> >from cold?
Relatively high keyhole necklines seem pretty universal in the 12th
century. For the low boatshaped ones you're talking about you're
looking very much towards the end of the 13th century. There was
a lot of neckline variety in the 13th century, but there's a big shift
in clothing style at the end of the 12th that makes the 12th and 13th
centuries quite different.
In terms of the 13th century, the answer is yes and no - wimples
were popular fashion then so some people have their necks covered
but other headdress styles that left the neck bare were also popular
and the lower neck styles don't seem to have stopped them wearing
those.

Claire

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Subject: Re: [h-cost] Help Identifying a Painting
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----- Original Message ----- 
From: "Catalina Sanabria Rosado" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 06, 2003 1:26 AM
Subject: Re: [h-cost] Help Identifying a Painting


> those are her sleeves taken off her arms and tid
> behind her back. I've seen SCA kitchens with this same
> exact scenario. They look exactly like that.
> 
> 
Ah, I can see that now. Interesting.
Claire
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From: "Sablerose" <tayla@sablerose.net>
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Date: Sun, 7 Dec 2003 13:55:20 -0800
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Subject: [h-cost] Finding copies of patterns that are out of print
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So soon after I joined this list there was a huge thread about the
correct protocol for sharing patterns and copyright protections.  I
would really prefer not to violate copyright protections, for good
historical patterns I would like the company and the artist to get their
full do.  BUT!  When I recently sent a friend to look for the Simplicity
8721 pattern (The cotehardie and sideless surcoat pattern) she is unable
to find it in fabric stores.  Has Simplicity stopped selling this
pattern?  If so, any suggestions for finding a legal copy?
 
Thank you,
 
Tayla
 
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Sablerose wrote:

>   When I recently sent a friend to look for the Simplicity
> 8721 pattern (The cotehardie and sideless surcoat pattern) she is unable
> to find it in fabric stores.  Has Simplicity stopped selling this
> pattern?  If so, any suggestions for finding a legal copy?
>  

Do you mean 8725? That's the one with the big red sideless surcote. It 
went out of print this fall. There is still a good chance it can be 
bought from Simplicity direct, if your friend writes to them. They keep 
stock on hand until it sells out.

If she can get 9758 it actually makes better use of the fabric, it 
doesn't drag all over the place and it uses gores at the sides for 
fullness. This one is also recently out of print.



Dawn



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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Finding copies of patterns that are out of print
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At 01:55 PM 12/7/2003 -0800, you wrote:
>If so, any suggestions for finding a legal copy?


Hi Tayla,

You may be able to find full copies of the pattern on eBay. I see many 
patterns there all the time. However, be sure to read the full description 
and ask questions of the seller if you aren't sure of anything. Buyer 
Beware is my motto now.

And Simplicity #8721 is a girl's pattern.

Simplicity #8725, as Dawn suggested, is on eBay
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2364411995&category=11801

I looked for #9758, but only found older patterns, not the Historical dress 
at all. But it may show up there later.

Good luck!

Kimiko


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

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

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Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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I notice they describe the Vikings as "legendary", as though they think
it was an invented culture!
I too quite liked the African one (not that I know much about African
culture).


>>> cathy@thyrsus.com 12/7/03 3:48:47 AM >>>
Mattel is actually selling a "Princess of the Vikings" collectible
Barbie that 
wears a winged helmet and breastplate (over a dress with filmy flowing

sleeves, yet).  Even the proponents of the "two panel" apron dress
don't 
misrepresent Viking costume this badly:

http://www.barbiecollectibles.com/shop/product.aspx?product_id=60452&shelfID=150011

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven
Wright
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From: Hope Greeenberg <hope.greenberg@uvm.edu>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Caraco Picture
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Would 1855 do? Here you go, complete with pattern and description:
http://www.uvm.edu/~hag/godey/fashion/di.html

- Hope

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You are a life saver

Many thanks :)

Mel

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From h-costume-bounces@indra.com  Mon Dec  8 10:28:32 2003
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From: Kathy Hensley <nanaseven72003@yahoo.com>
Subject: Re: [h-cost] New, and a few questions
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Thank you.  I am also a costumer of Victorian fashions and am just starting to learn about earlier days as well.  Sometimes I wonder if it's worth it, seems so overwhelming.  But when I think back a few years, I knew nothing about the Victorian era.  I learned and find it so much more enjoyable to look and see things I never noticed before.  So it's nice to know I'm not on this journey alone.

Jean Waddie <anne@montgomerie.demon.co.uk> wrote:Hello and welcome to the easy stuff. I wouldn't put myself up as a 
great expert, but I'll try to give you an introduction, and I'm sure 
others will join in and correct me where I'm wrong. I have to say I'm 
quite awed by someone who starts 19th century and moves down to early 
medieval, but I expect you're struggling with the lack of sources and 
patterns.

First thing, I would recommend you to this site:
http://www.virtue.to/articles/#Clothing and especially the basic garb 
instructions.

Second thing, never assume because they did or didn't have or know 
something in the 19th century, it was the same in the 11th or 12th. 
Take that back another 800 years and you have Romans, who knew a lot of 
stuff that was then lost in Western Europe for centuries.


Sarah Jane Edwards <1warcry@mtco.com> wrote
>Hello all;
>
> I am rather new to the world of early costuming, as my focus on costume
>has been the 19th century for the past six years. However, since I am
>getting rather bored with that time period, I am looking into earlier
>periods and am finding delightful things.
>
> Right now I am wanting to make an outfit from the 11th century, (around
>the time of Henry the First)
I assume you mean 1100s, 12th century.
>but am rather confused. (So far, most of my
>research has been through the web). The skirts seem rather full on womens
>dress. Would this fullness result from triangular gores set into a
>rectangular skirt, or would it be cut from a wide piece of fabric in a
>semi-circular shape? I have seen many sites with patterns for early gowns,
>but they call for the large widths of fabric. From my own 19th century
>knowledge, I know that fabrics were much narrower then than they are now, so
>if that was true in earlier periods, the inserted gore thing makes more
>sense.
>
The basic dress and tunic shape is a rectangular front and back with 
gores, either just at the sides or sides and front and back. The basic 
dress does not have a waist seam (I'll come on to the controversies in a 
moment), but you can get a lot of skirt from gores. I have seen 
patterns that cut the whole front and the whole back together. However, 
in my experience, that leads to a dress that looks like the 2-D picture 
- triangular. You want to cut the gores separately so that you have a 
straight grain all the way down from under your arm to the floor.

> I'm also wondering about lacing, in some images I've seen the gowns seem
>rather closely fitted at the upper body, but the skirt flares out from the
>waist down, to be in soft folds around the feet. This would seem to me to
>necessiate some sort of opening to enable the woman to put her gown on.
>Where would such an opening (if there indeed would be one) be located? I'm
>assuming laces would be used to fasten it shut, but if I am wrong please
>feel free to correct me with reproof and instruction. :)
>
This depends which type of gown you are looking at, and the shape of the 
person. As recently discussed here, without an opening, the waist 
cannot be any smaller than your bust, since it has to go over your head 
and past your bust. But you have the front and back sewn directly 
together as far as the waist (or slightly above, depending how fast you 
need to flare for your tummy and hips) so it is more fitted at the waist 
and then flares.

>From perhaps 1230-ish they do start lacing to get a better fit around 
the torso. We can't really tell whether this is done with an opening or 
just by pulling all the fabric in under the lacing, but if there is an 
opening it's most likely to be at the sides. It's almost certainly not 
an opening all the way up to the neckline - you still have to pull it 
over your head, but it can expand as it goes past your bust and then you 
lace it tight around your ribs and waist.

Now, you may be looking at pictures of bliauts, the ones that appear to 
have a separate, tight bodice and heavily pleated skirt. Nobody knows 
how these were made - we're not even sure that the word "bliaut" refers 
to this style in period, or that they really existed rather than being a 
creation of a particular style of sculpture. The idea of a waist seam 
is very controversial, since it doesn't appear in any other garment 
until the 15th century. And the idea of a leather corset, which you 
will see put forward, is generally considered nowadays to be Right Out. 
The best guess, in my view, is that extra fabric in the torso is 
tightly pulled in by lacing, and the pattern of gathering that this 
creates has been exaggerated by the artistic style of the time. But I 
haven't tried to do one. I think some people on the list have - can we 
have the benefit of your experience here, people?


>Oh, one more thing. What kind of neckline would be appropriate? I've read
>that earlier gowns had higher 'keyhole' necklines, and they got lower as the
>years progressed. I was looking at a site today that had images from the
>13th century, and the neckline seemed to be a very low boat shape. Would,
>for this kind of neckline, a filler of some sort have been worn to protect
>from cold?
>
There's an answer to that in the sources. It's very difficult to tell 
what the neckline is on most female outfits of the period, because it's 
covered by their headcovering. Veils/wimples/headrails are mostly still 
large and draped around the front of the neck until the late 12th 
century, so there's your filler. Later, the artwork all shows veils 
just covering the head and hanging to the back, but I'm sure on a cold 
day they would pick up a spare length of cloth and wrap it round to keep 
warm. Fashion photography never shows the model in her big coat and 
woolly hat between takes, after all :-)

> I am striving for authenticity, and don't want to start on my various
>layers until I am fairly sure I am using period techniques.
>
> Please forgive me for what I'm sure seems such a basic question to you
>all, I do appreciate any help you can give me!
>
>Sarah
>
>1warcry@mtco.com
>http://web2k.mtco.com/ldepse
>

I hope this gives you a start, don't be afraid to come back if you have 
more questions.

Jean

-- 
Jean Waddie
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10312041146560.8176-100000@shell.nightowl.net>
Subject: new technology was Re: [h-cost] Sideless surcote (was: 15th c. gown)
Date: Mon, 8 Dec 2003 08:09:17 -0800
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Robin wrote:

but I can't see a  book on the sideless surcote as being in enough demand to
make up printing
> costs!

CD rom Robin!  CD rom!!!  Must only cost about 50cents each these
days.......... (just leaves permission fees)

Cheers,

Lisa Sinervo - who certainly would be on the waiting list for a copy


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Date: Mon, 8 Dec 2003 09:14:03 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: new technology was Re: [h-cost] Sideless surcote (was: 15th c.
	gown)
To: Historical Costume <h-costume@indra.com>
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And I would be on the list for that book as well:)
Albra

Lisa Sinervo <Lisa-list@thrednedlestrete.com> wrote:
Robin wrote:

but I can't see a book on the sideless surcote as being in enough demand to
make up printing
> costs!

CD rom Robin! CD rom!!! Must only cost about 50cents each these
days.......... (just leaves permission fees)

Cheers,

Lisa Sinervo - who certainly would be on the waiting list for a copy


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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] New, and a few questions
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To clarify dates:

I've got Henry I listed as 1100 to 1135.

Yes, I meant tighter fitting started around 1130ish.

Sorry for making a hash of that!

Jean

>> >
>> >  Right now I am wanting to make an outfit from the 11th century, (around
>> >the time of Henry the First)
>> I assume you mean 1100s, 12th century.
>Henry I's reign began at the end of the 11th century I think, so it
>just qualifies. Henry II began in 1152 or so, if that what you're thinking
>of....
>> >but am rather confused. (So far, most of my
<snip>
>>
>>  From perhaps 1230-ish they do start lacing to get a better fit around
>Errr...do you mean 1130? I think they may even have started a bit
>earlier, as even a bit into the 11th century you see some attempt at
>shaping to the waist, although this may be the sort of thing Jean
>describes above rather than lacing per se.
>> the torso.  We can't really tell whether this is done with an opening or
>> just by pulling all the fabric in under the lacing, but if there is an
>> opening it's most likely to be at the sides.  It's almost certainly not
>Definitely agree there. Western Europe doesn't seem to have
>gotten the idea of a (complete) CF or CB opening until the 14th
>century.
>> an opening all the way up to the neckline - you still have to pull it
>> over your head, but it can expand as it goes past your bust and then you
>> lace it tight around your ribs and waist.
>
<snip>
-- 
Jean Waddie
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From: Stacey <anastasi5@yahoo.com>
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Subject: [h-cost] Hand weaving tunics
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Hello, 

I know my loom and materials are probably not
perfectly historic, but I'd like the advice of anyone
here who has done some hand-woven costumes.  I have a
22" tabletop loom with a 12 thread-per-inch reed.  I
have some fine cotton and wool yarns that just might
make up that width for the 14 yards I can set up on my
warping frame.  Now, my first question to any
handweavers in here is, how do you start cutting your
final cloth?  Do you stabilize the edges first, or
hope that it won't fray by the time you finish the
seams?  Since I'm just doing square T-tunics, would I
weave the lengths for each piece and then separate
them with empty warp (which would be tied off)?  

Thanks in advance, 

Stacey

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From h-costume-bounces@indra.com  Mon Dec  8 18:52:38 2003
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Date: Mon, 08 Dec 2003 15:51:47 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Hand weaving tunics
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>Now, my first question to any
>handweavers in here is, how do you start cutting your
>final cloth?  Do you stabilize the edges first, or
>hope that it won't fray by the time you finish the
>seams?  Since I'm just doing square T-tunics, would I
>weave the lengths for each piece and then separate
>them with empty warp (which would be tied off)?

I am under the impression that earlier cultures did as little cutting of 
cloth as they could get away with.  That's why most ethnic garments are 
made of squares, rectangles, and triangles.  I know if I'd just woven that 
much cloth I wouldn't be in a hurry to chop it up for a modern garment, and 
waste all the scraps.  (This is exactly what happened when my grandmother 
wove a piece of cloth for a dress for me, which my mother cut and sewed, 
for a handweaver's convention.  I think they made handwoven pincushions 
with as much of the scrap as they could.)

What I think I'd do is put two rows of sewing machine zig-zag stitching 
wherever I needed to cut, and cut between them.  Not period, sorry.

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

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Subject: Re: [h-cost] Caraco Picture
Date: Mon, 8 Dec 2003 19:13:33 -0500
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Thank You Hope for these images. I have been working in the 18th C for these
garments and never tripped into the 19th C to see how the Curacao translated
itself a hundred years or so to another time period.  Very interesting.
Kathleen
----- Original Message ----- 
From: "Hope Greeenberg" <hope.greenberg@uvm.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 08, 2003 10:00 AM
Subject: Re: [h-cost] Caraco Picture


> Would 1855 do? Here you go, complete with pattern and description:
> http://www.uvm.edu/~hag/godey/fashion/di.html
>
> - Hope
>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Hand weaving tunics
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Oh, cool, there's another one like me out here! I'm taking an
intro-to-weaving class precisely so I can learn enough to weave my own
yardage, and my questions about sources for weaving-weight wool singles,
and my first "independent" project being this weird scrap of linen from
10th c. Yorvik are making the instructor's eyes glaze over! ;o)
Do you have this link?
http://home.insight.rr.com/cains/documentation/
It's an online diary (of sorts), detailing the process one lady went
through to create a handmade (spun, woven, etc), Anglo-Saxon cyrtel
(11th c., I think).
--sue

Stacey wrote:
> 
> Hello,
> 
> I know my loom and materials are probably not
> perfectly historic, but I'd like the advice of anyone
> here who has done some hand-woven costumes.  I have a
> 22" tabletop loom with a 12 thread-per-inch reed.  I
> have some fine cotton and wool yarns that just might
> make up that width for the 14 yards I can set up on my
> warping frame.  Now, my first question to any
> handweavers in here is, how do you start cutting your
> final cloth?  Do you stabilize the edges first, or
> hope that it won't fray by the time you finish the
> seams?  Since I'm just doing square T-tunics, would I
> weave the lengths for each piece and then separate
> them with empty warp (which would be tied off)?
> 
> Thanks in advance,
> 
> Stacey
> 
> __________________________________
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> New Yahoo! Photos - easier uploading and sharing.
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Date: Mon, 08 Dec 2003 20:17:10 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Hand weaving tunics
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I think it's wonderful that you are planning to weave fabric for your 
outfit.  But only 12 threads per inch in a tabby weave is very coarse. It 
would be useable for woolens for outer clothing (a cloak, for instance), 
but I would want something much finer for a tunic (at least 40 to 50 
threads per inch).  The problem you run into is that if you weave it firmly 
enough that it resists unravelling, you have a very board-like fabric with 
very little drape, and if it is not firmly woven, it comes apart or snags 
easily if the threads are smooth.  Once you take the web off the loom, you 
need to wash it (sew the starting and finishing ends together before 
washing) to tighten up the weave and remove any dirt or oils from your hands.
Good luck with your project.

At 07:12 PM 12/8/2003 -0700, you wrote:
>Oh, cool, there's another one like me out here! I'm taking an
>intro-to-weaving class precisely so I can learn enough to weave my own
>yardage, and my questions about sources for weaving-weight wool singles,
>and my first "independent" project being this weird scrap of linen from
>10th c. Yorvik are making the instructor's eyes glaze over! ;o)
>Do you have this link?
>http://home.insight.rr.com/cains/documentation/
>It's an online diary (of sorts), detailing the process one lady went
>through to create a handmade (spun, woven, etc), Anglo-Saxon cyrtel
>(11th c., I think).
>--sue
>
>Stacey wrote:
> >
> > Hello,
> >
> > I know my loom and materials are probably not
> > perfectly historic, but I'd like the advice of anyone
> > here who has done some hand-woven costumes.  I have a
> > 22" tabletop loom with a 12 thread-per-inch reed.  I
> > have some fine cotton and wool yarns that just might
> > make up that width for the 14 yards I can set up on my
> > warping frame.  Now, my first question to any
> > handweavers in here is, how do you start cutting your
> > final cloth?  Do you stabilize the edges first, or
> > hope that it won't fray by the time you finish the
> > seams?  Since I'm just doing square T-tunics, would I
> > weave the lengths for each piece and then separate
> > them with empty warp (which would be tied off)?
> >
> > Thanks in advance,
> >
> > Stacey
> >
> > __________________________________
> > Do you Yahoo!?
> > New Yahoo! Photos - easier uploading and sharing.
> > http://photos.yahoo.com/
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

 From your friendly fiber fan,

Joan Jurancich
Sacramento, CA
joanmj@surewest.net

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From h-costume-bounces@indra.com  Tue Dec  9 08:53:43 2003
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From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Hand weaving tunics
Date: Tue, 9 Dec 2003 07:52:24 -0600
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One of our local Laurels once commented in a class on early period
clothing- pre-1300's mostly, that hardly anybody uses as much
fringe/fringing for edge treatments as they did back in the day. My
response was that was because we had to un-weave the purchased material,
all they had to do was leave off weaving at the end of each piece. So
you are in good shape! 
Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Stacey
Sent: Monday, December 08, 2003 4:29 PM
To: h-costume@indra.com
Subject: [h-cost] Hand weaving tunics

Hello, 

I know my loom and materials are probably not
perfectly historic, but I'd like the advice of anyone
here who has done some hand-woven costumes.  I have a
22" tabletop loom with a 12 thread-per-inch reed.  I
have some fine cotton and wool yarns that just might
make up that width for the 14 yards I can set up on my
warping frame.  Now, my first question to any
handweavers in here is, how do you start cutting your
final cloth?  Do you stabilize the edges first, or
hope that it won't fray by the time you finish the
seams?  Since I'm just doing square T-tunics, would I
weave the lengths for each piece and then separate
them with empty warp (which would be tied off)?  

Thanks in advance, 

Stacey

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Date: Tue, 9 Dec 2003 07:48:17 -0800
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Subject: [h-cost] Dirndl pattern
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Does anyone know where I can find a pattern for a traditional German Dirndl,
besides the Folkwear one?

Thanks,

                  ,%%%,
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                   __@@" %%%--"""-.%,
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                  \\  \   /   |     /'%,
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Joan Broneske          ||       `>>>
unicorn@surewest.net   ||       ///`
                       /(      //(


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Status: RO

Try the Burda pattern company

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Joan Broneske
Sent: Tuesday, December 09, 2003 9:48 AM
To: H-costume
Subject: [h-cost] Dirndl pattern

Does anyone know where I can find a pattern for a traditional German
Dirndl,
besides the Folkwear one?

Thanks,

                  ,%%%,
             --==% `%%%,
                 |' )`%%,
                 \_/\ @%%,
                   __@@" %%%--"""-.%,
                  /`__|             \%%
                  \\  \   /   |     /'%,
                   \]  | /----'.   < `%,
Joan Broneske          ||       `>>>
unicorn@surewest.net   ||       ///`
                       /(      //(


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From h-costume-bounces@indra.com  Tue Dec  9 12:58:54 2003
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Seeking cites from French references on 14th c. costume
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Is there anyone on the list who has in hand any books on costume by Odile
Blanc, Francoise Piponnier, Michel Pastoreau, or other French writers on
medieval costume? (I have the English version of the Piponnier & Mane
book, but I know Piponnier has written more that has not been translated.)

If you are familiar with any of these, can you tell me whether any of them
address the topic of tippets -- the decorative streamers hanging from the
upper arms in late 14th c. Western European dress?

I am preparing a paper on tippets and want to make sure I haven't missed
any references to them, particularly documentary references, but also
modern analyses. Someone told me she thought Odile Blanc addressed this
topic, but didn't tell me where, and Blanc has written many books. I have
skimmed through the most likely one, _Parades et Parures_, and found one
brief reference to tippets. But I worry that there's something more
somewhere, and I'd hate to miss it. If I know what books to start looking
through, I can probably ILL them, but I can't ILL the entire French works
of these authors.

I'm also interested in terminology used for these items in French books.
Blanc calls tippets "coudieres" (accent grave over the first e), a term I
had not heard before, so I worry that there might be references elsewhere
in French I could have missed, particularly if there are other
French-specific terms.

I appreciate any leads. I'm also in the market for any references to
tippets in medieval documentary sources, which might be quoted in modern
books (on costume or other topics). I have the references from Newton,
Scott, and of course a bunch of unreliable earlier books, 18th-20th c. But
who knows what else is out there? And if anyone else has done a paper on
these things, I haven't seen it ... which worries me.

--Robin


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Subject: [h-cost] speaking of weaving fabrics... another ebay book
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French Weaving Book
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3572481376&category=1124
THE ROMANCE OF FRENCH WEAVING, by Paul Rodier, published by Tudor Publising 
Co., NY, 1936.



Kimiko


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

Graphic Intern at Costume Gallery
http://www.costumegallery.com
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Hand weaving tunics
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Stacey,
I have 2 threads per dent in my 12 dent per inch reed. If you have 
enough heddles for your loom, you should be able to do this also, if you 
want a tighter weave.

liz young

Joan Jurancich wrote:

> I think it's wonderful that you are planning to weave fabric for your 
> outfit.  But only 12 threads per inch in a tabby weave is very coarse. 
> It would be useable for woolens for outer clothing (a cloak, for 
> instance), but I would want something much finer for a tunic (at least 
> 40 to 50 threads per inch).  The problem you run into is that if you 
> weave it firmly enough that it resists unravelling, you have a very 
> board-like fabric with very little drape, and if it is not firmly 
> woven, it comes apart or snags easily if the threads are smooth.  Once 
> you take the web off the loom, you need to wash it (sew the starting 
> and finishing ends together before washing) to tighten up the weave 
> and remove any dirt or oils from your hands.
> Good luck with your project.
>
> At 07:12 PM 12/8/2003 -0700, you wrote:
>
>> Oh, cool, there's another one like me out here! I'm taking an
>> intro-to-weaving class precisely so I can learn enough to weave my own
>> yardage, and my questions about sources for weaving-weight wool singles,
>> and my first "independent" project being this weird scrap of linen from
>> 10th c. Yorvik are making the instructor's eyes glaze over! ;o)
>> Do you have this link?
>> http://home.insight.rr.com/cains/documentation/
>> It's an online diary (of sorts), detailing the process one lady went
>> through to create a handmade (spun, woven, etc), Anglo-Saxon cyrtel
>> (11th c., I think).
>> --sue
>>
>> Stacey wrote:
>> >
>> > Hello,
>> >
>> > I know my loom and materials are probably not
>> > perfectly historic, but I'd like the advice of anyone
>> > here who has done some hand-woven costumes.  I have a
>> > 22" tabletop loom with a 12 thread-per-inch reed.  I
>> > have some fine cotton and wool yarns that just might
>> > make up that width for the 14 yards I can set up on my
>> > warping frame.
>




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From h-costume-bounces@indra.com  Tue Dec  9 18:55:22 2003
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Date: Tue, 9 Dec 2003 15:53:58 -0800 (PST)
From: Tasha McGann <demontsegur@yahoo.com>
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	Re: Seeking cites from French references on 14th c. costume
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> Blanc calls tippets "coudieres" (accent grave over
> the first e), a term I
> had not heard before, so I worry that there might be
> references elsewhere
> in French I could have missed, particularly if there
> are other French-specific terms.

Hi Robin,

You probably have already made this connection, but
Joan Evans, in her _Dress in Medieaval France_,
references G. Demay's _Le costume au moyen age d'aprez
les sceaux_ (1880) when she says (on p. 45): "...in
1390 Charles le Hardi, Duke of Lorraine, appears on
his seal with plate-armour complete: shoulder-pieces,
brassarts, coudieres, canons, gantelets, cuissots,
genouilleres, greves and sollerets with long
points..." and then she references two plates which
depict men in armour, but are clearly not the seal
itself (and thus a tad useless for the present
discussion). The word "coudieres" is accented the way
you describe above. 

Perhaps there is an original wardrobe account for
Charles le Hardi dating from that time, or perhaps the
word can be chased down through Victor Gay's
_Glossaire archeologique du Moyen Age et de la
Renaissance_ (though I've never seen it myself, and
have no idea if it's reliable or not -- is it, I
wonder?). Sorry; it's not terribly useful, I know, but
I figure it's worth mentioning in case an in-depth
pursuit can actually lead to something meaty.

-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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 costume
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On Tue, 9 Dec 2003, Tasha McGann wrote:

> > Blanc calls tippets "coudieres" (accent grave over
> > the first e), a term I had not heard before...

> You probably have already made this connection, but Joan Evans, in her
> _Dress in Medieaval France_, references G. Demay's _Le costume au
> moyen age d'aprez les sceaux_ (1880) when she says (on p. 45): "...in
> 1390 Charles le Hardi, Duke of Lorraine, appears on his seal with
> plate-armour complete: shoulder-pieces, brassarts, coudieres, canons,
> gantelets, cuissots, genouilleres, greves and sollerets with long
> points..." and then she references two plates which depict men in
> armour, but are clearly not the seal itself (and thus a tad useless
> for the present discussion). The word "coudieres" is accented the way
> you describe above.

Aha. No, I didn't have this connection, not being an armor person. I
wonder if Blanc (or others) picked up a generic term for "elbow piece" or
something like that. Thanks; now I have something to go on for tracking
this down in French historic glossaries and dictionaries, to find whether
it's listed as an armor term or a clothing term. A lot of costume and
armor terms are crossovers from one area to the other, so this is a likely
connection ... though based on what little I know right now it's equally
likely that it's a modern shift in terminology, not a medieval one! I'll
see if I can find out. Thanks for that little gem.

--Robin

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At 7:48 AM -0800 12/9/03, Joan Broneske wrote:
>Does anyone know where I can find a pattern for a traditional German Dirndl,
>besides the Folkwear one?

When I was in Germany, many years ago, there was a Simplicity pattern 
available there for dirndls.  I think I've still got it somewhere, 
but there's no guarantee that the pattern number would be of any 
earthly use three decades later.  But pattern companies active in 
Germany probably have _something_ available.

Heather
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At 7:48 AM -0800 12/9/03, Joan Broneske wrote:
>Does anyone know where I can find a pattern for a traditional German Dirndl,
>besides the Folkwear one?

When I was in Germany, many years ago, there was a Simplicity pattern 
available there for dirndls.  I think I've still got it somewhere, 
but there's no guarantee that the pattern number would be of any 
earthly use three decades later.  But pattern companies active in 
Germany probably have _something_ available.

Heather
-- 
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hrjones@socrates.berkeley.edu
*****
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Hand weaving tunics
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Unfortunately, putting two threads per dent won't help much.  You end up 
with a half-basketweave that will also be fairly stiff and thick if firmly 
woven.  If you use a fine thread at one thread per dent and weave it so 
that you end up with 40+ threads per inch in the web (which will make it 
*much* narrower than the width of the reed), you might be able to come up 
with a fabric with decent draping qualities.  Let us know how it works.
Joan

At 03:05 PM 12/9/2003 -0800, you wrote:
>Stacey,
>I have 2 threads per dent in my 12 dent per inch reed. If you have enough 
>heddles for your loom, you should be able to do this also, if you want a 
>tighter weave.
>
>liz young
>
>Joan Jurancich wrote:
>
>>I think it's wonderful that you are planning to weave fabric for your 
>>outfit.  But only 12 threads per inch in a tabby weave is very coarse. It 
>>would be useable for woolens for outer clothing (a cloak, for instance), 
>>but I would want something much finer for a tunic (at least 40 to 50 
>>threads per inch).  The problem you run into is that if you weave it 
>>firmly enough that it resists unravelling, you have a very board-like 
>>fabric with very little drape, and if it is not firmly woven, it comes 
>>apart or snags easily if the threads are smooth.  Once you take the web 
>>off the loom, you need to wash it (sew the starting and finishing ends 
>>together before washing) to tighten up the weave and remove any dirt or 
>>oils from your hands.
>>Good luck with your project.
>>
>>At 07:12 PM 12/8/2003 -0700, you wrote:
>>
>>>Oh, cool, there's another one like me out here! I'm taking an
>>>intro-to-weaving class precisely so I can learn enough to weave my own
>>>yardage, and my questions about sources for weaving-weight wool singles,
>>>and my first "independent" project being this weird scrap of linen from
>>>10th c. Yorvik are making the instructor's eyes glaze over! ;o)
>>>Do you have this link?
>>>http://home.insight.rr.com/cains/documentation/
>>>It's an online diary (of sorts), detailing the process one lady went
>>>through to create a handmade (spun, woven, etc), Anglo-Saxon cyrtel
>>>(11th c., I think).
>>>--sue
>>>
>>>Stacey wrote:
>>> >
>>> > Hello,
>>> >
>>> > I know my loom and materials are probably not
>>> > perfectly historic, but I'd like the advice of anyone
>>> > here who has done some hand-woven costumes.  I have a
>>> > 22" tabletop loom with a 12 thread-per-inch reed.  I
>>> > have some fine cotton and wool yarns that just might
>>> > make up that width for the 14 yards I can set up on my
>>> > warping frame.

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From h-costume-bounces@indra.com  Wed Dec 10 01:14:45 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Hand weaving tunics
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Shoot. I don't think I was clear. I also wasn't following the thread 
until recently, so who *knows* what exactly I think I'm replying to!
I have a 4 shaft, 6 treadle floor loom. Threading pattern is 1 2 3 4 1 2 
3 4 etc. Tied up for tabby and for twill. Weaving is in progress. Warp 
is 24 inches wide, cloth is 23 inches wide (drawing in a little). I 
really do have 2 threads in each dent of the reed. Getting a nice tabby 
with twill bands. Not a basketweave in sight. 1/2 yard woven and 6 1/2 
to go!

liz young

Joan Jurancich wrote:

> Unfortunately, putting two threads per dent won't help much.  You end 
> up with a half-basketweave that will also be fairly stiff and thick if 
> firmly woven.  If you use a fine thread at one thread per dent and 
> weave it so that you end up with 40+ threads per inch in the web 
> (which will make it *much* narrower than the width of the reed), you 
> might be able to come up with a fabric with decent draping qualities.  
> Let us know how it works.
> Joan
>
> At 03:05 PM 12/9/2003 -0800, you wrote:
>
>> Stacey,
>> I have 2 threads per dent in my 12 dent per inch reed. If you have 
>> enough heddles for your loom, you should be able to do this also, if 
>> you want a tighter weave.
>>
>> liz young
>>
>> Joan Jurancich wrote:
>>
>>> I think it's wonderful that you are planning to weave fabric for 
>>> your outfit.  But only 12 threads per inch in a tabby weave is very 
>>> coarse. It would be useable for woolens for outer clothing (a cloak, 
>>> for instance), but I would want something much finer for a tunic (at 
>>> least 40 to 50 threads per inch).  The problem you run into is that 
>>> if you weave it firmly enough that it resists unravelling, you have 
>>> a very board-like fabric with very little drape, and if it is not 
>>> firmly woven, it comes apart or snags easily if the threads are 
>>> smooth.  Once you take the web off the loom, you need to wash it 
>>> (sew the starting and finishing ends together before washing) to 
>>> tighten up the weave and remove any dirt or oils from your hands.
>>> Good luck with your project.
>>>
>>> At 07:12 PM 12/8/2003 -0700, you wrote:
>>>
>>>> Oh, cool, there's another one like me out here! I'm taking an
>>>> intro-to-weaving class precisely so I can learn enough to weave my own
>>>> yardage, and my questions about sources for weaving-weight wool 
>>>> singles,
>>>> and my first "independent" project being this weird scrap of linen 
>>>> from
>>>> 10th c. Yorvik are making the instructor's eyes glaze over! ;o)
>>>> Do you have this link?
>>>> http://home.insight.rr.com/cains/documentation/
>>>> It's an online diary (of sorts), detailing the process one lady went
>>>> through to create a handmade (spun, woven, etc), Anglo-Saxon cyrtel
>>>> (11th c., I think).
>>>> --sue
>>>>
>>>> Stacey wrote:
>>>> >
>>>> > Hello,
>>>> >
>>>> > I know my loom and materials are probably not
>>>> > perfectly historic, but I'd like the advice of anyone
>>>> > here who has done some hand-woven costumes.  I have a
>>>> > 22" tabletop loom with a 12 thread-per-inch reed.  I
>>>> > have some fine cotton and wool yarns that just might
>>>> > make up that width for the 14 yards I can set up on my
>>>> > warping frame.
>>>
>
> _______________________________________________
> 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] Dirndl pattern
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This one looks interesting:

http://store.german-usa.com/Books/Needlework___Sewing/Clothes_Making/trachten_dirndl_revue_2000.html

Theresa Eacker


Kim Baird wrote:
> Try the Burda pattern company
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Joan Broneske
> Sent: Tuesday, December 09, 2003 9:48 AM
> To: H-costume
> Subject: [h-cost] Dirndl pattern
> 
> Does anyone know where I can find a pattern for a traditional German
> Dirndl,
> besides the Folkwear one?
> 
> Thanks,
> 
>                   ,%%%,
>              --==% `%%%,
>                  |' )`%%,
>                  \_/\ @%%,
>                    __@@" %%%--"""-.%,
>                   /`__|             \%%
>                   \\  \   /   |     /'%,
>                    \]  | /----'.   < `%,
> Joan Broneske          ||       `>>>
> unicorn@surewest.net   ||       ///`
>                        /(      //(
> 
> 
> _______________________________________________
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> 


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From h-costume-bounces@indra.com  Wed Dec 10 08:38:34 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Hand weaving tunics
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Why would you end up with a half-basket weave? Putting more than one
thread in a dent is pretty common practice in the weaving books I've
got--you just thread the heddles individually, making sure you don't get
things tangled.
--sue

Joan Jurancich wrote:
> 
> Unfortunately, putting two threads per dent won't help much.  You end up
> with a half-basketweave that will also be fairly stiff and thick if firmly
> woven.  If you use a fine thread at one thread per dent and weave it so
> that you end up with 40+ threads per inch in the web (which will make it
> *much* narrower than the width of the reed), you might be able to come up
> with a fabric with decent draping qualities.  Let us know how it works.
> Joan
> 
> At 03:05 PM 12/9/2003 -0800, you wrote:
> >Stacey,
> >I have 2 threads per dent in my 12 dent per inch reed. If you have enough
> >heddles for your loom, you should be able to do this also, if you want a
> >tighter weave.
> >
> >liz young
> >
> >Joan Jurancich wrote:
> >
> >>I think it's wonderful that you are planning to weave fabric for your
> >>outfit.  But only 12 threads per inch in a tabby weave is very coarse. It
> >>would be useable for woolens for outer clothing (a cloak, for instance),
> >>but I would want something much finer for a tunic (at least 40 to 50
> >>threads per inch).  The problem you run into is that if you weave it
> >>firmly enough that it resists unravelling, you have a very board-like
> >>fabric with very little drape, and if it is not firmly woven, it comes
> >>apart or snags easily if the threads are smooth.  Once you take the web
> >>off the loom, you need to wash it (sew the starting and finishing ends
> >>together before washing) to tighten up the weave and remove any dirt or
> >>oils from your hands.
> >>Good luck with your project.
> >>
> >>At 07:12 PM 12/8/2003 -0700, you wrote:
> >>
> >>>Oh, cool, there's another one like me out here! I'm taking an
> >>>intro-to-weaving class precisely so I can learn enough to weave my own
> >>>yardage, and my questions about sources for weaving-weight wool singles,
> >>>and my first "independent" project being this weird scrap of linen from
> >>>10th c. Yorvik are making the instructor's eyes glaze over! ;o)
> >>>Do you have this link?
> >>>http://home.insight.rr.com/cains/documentation/
> >>>It's an online diary (of sorts), detailing the process one lady went
> >>>through to create a handmade (spun, woven, etc), Anglo-Saxon cyrtel
> >>>(11th c., I think).
> >>>--sue
> >>>
> >>>Stacey wrote:
> >>> >
> >>> > Hello,
> >>> >
> >>> > I know my loom and materials are probably not
> >>> > perfectly historic, but I'd like the advice of anyone
> >>> > here who has done some hand-woven costumes.  I have a
> >>> > 22" tabletop loom with a 12 thread-per-inch reed.  I
> >>> > have some fine cotton and wool yarns that just might
> >>> > make up that width for the 14 yards I can set up on my
> >>> > warping frame.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Liz, what are you using for yarn/thread? The tabby/twill alternating
sounds pretty.
I'm saving up for an 8-harness table loom myself (no room in the inn for
a floor loom.  no room in the budget, either! ;-D)
--sue

Elizabeth Young wrote:
> 
> Shoot. I don't think I was clear. I also wasn't following the thread
> until recently, so who *knows* what exactly I think I'm replying to!
> I have a 4 shaft, 6 treadle floor loom. Threading pattern is 1 2 3 4 1 2
> 3 4 etc. Tied up for tabby and for twill. Weaving is in progress. Warp
> is 24 inches wide, cloth is 23 inches wide (drawing in a little). I
> really do have 2 threads in each dent of the reed. Getting a nice tabby
> with twill bands. Not a basketweave in sight. 1/2 yard woven and 6 1/2
> to go!
> 
> liz young
> 
> Joan Jurancich wrote:
> 
> > Unfortunately, putting two threads per dent won't help much.  You end
> > up with a half-basketweave that will also be fairly stiff and thick if
> > firmly woven.  If you use a fine thread at one thread per dent and
> > weave it so that you end up with 40+ threads per inch in the web
> > (which will make it *much* narrower than the width of the reed), you
> > might be able to come up with a fabric with decent draping qualities.
> > Let us know how it works.
> > Joan
> >
> > At 03:05 PM 12/9/2003 -0800, you wrote:
> >
> >> Stacey,
> >> I have 2 threads per dent in my 12 dent per inch reed. If you have
> >> enough heddles for your loom, you should be able to do this also, if
> >> you want a tighter weave.
> >>
> >> liz young
> >>
> >> Joan Jurancich wrote:
> >>
> >>> I think it's wonderful that you are planning to weave fabric for
> >>> your outfit.  But only 12 threads per inch in a tabby weave is very
> >>> coarse. It would be useable for woolens for outer clothing (a cloak,
> >>> for instance), but I would want something much finer for a tunic (at
> >>> least 40 to 50 threads per inch).  The problem you run into is that
> >>> if you weave it firmly enough that it resists unravelling, you have
> >>> a very board-like fabric with very little drape, and if it is not
> >>> firmly woven, it comes apart or snags easily if the threads are
> >>> smooth.  Once you take the web off the loom, you need to wash it
> >>> (sew the starting and finishing ends together before washing) to
> >>> tighten up the weave and remove any dirt or oils from your hands.
> >>> Good luck with your project.
> >>>
> >>> At 07:12 PM 12/8/2003 -0700, you wrote:
> >>>
> >>>> Oh, cool, there's another one like me out here! I'm taking an
> >>>> intro-to-weaving class precisely so I can learn enough to weave my own
> >>>> yardage, and my questions about sources for weaving-weight wool
> >>>> singles,
> >>>> and my first "independent" project being this weird scrap of linen
> >>>> from
> >>>> 10th c. Yorvik are making the instructor's eyes glaze over! ;o)
> >>>> Do you have this link?
> >>>> http://home.insight.rr.com/cains/documentation/
> >>>> It's an online diary (of sorts), detailing the process one lady went
> >>>> through to create a handmade (spun, woven, etc), Anglo-Saxon cyrtel
> >>>> (11th c., I think).
> >>>> --sue
> >>>>
> >>>> Stacey wrote:
> >>>> >
> >>>> > Hello,
> >>>> >
> >>>> > I know my loom and materials are probably not
> >>>> > perfectly historic, but I'd like the advice of anyone
> >>>> > here who has done some hand-woven costumes.  I have a
> >>>> > 22" tabletop loom with a 12 thread-per-inch reed.  I
> >>>> > have some fine cotton and wool yarns that just might
> >>>> > make up that width for the 14 yards I can set up on my
> >>>> > warping frame.
> >>>
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
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Date: Fri, 10 Dec 2004 08:49:04 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Hand weaving tunics
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      Two threads per dent in a 12 is a very typical thing to do, it 
beats buying a new 24 dent! Or you can alternate one thread and two 
threads for 18 threads per inch.  The dent keeps the threads evenly 
distributed across the width, and it's the heddles and treadling that 
determine the weave.  A fine thread at four threads per dent would 
give you 48 threads per inch, but I'm not sure how many threads you 
can have in each one before it starts tangling.  A 20 dent reed with 
two threads per inch would work.

      While weaving will draw in the width of the fabric a bit, that's 
something weavers do their best to minimize.  If you try to draw the 
fabric in tighter deliberately, you'll end up with it tighter on the 
sides than in the center, uneven weaving due to impaired beating, and 
probably broken warp threads on the sides as well!

      Traditionally on tape looms you draw in the width to produce a 
warp-faced tape, and also you are beating with the shuttle and not 
with a reed.  With 1/8" to an inch of finished tape, it's easy to 
draw in the width evenly across the piece.

      I'm a beginner-level weaver, so if I got anything wrong 
hopefully a more experienced weaver will clarify!

      -Carol


>Unfortunately, putting two threads per dent won't help much.  You 
>end up with a half-basketweave that will also be fairly stiff and 
>thick if firmly woven.  If you use a fine thread at one thread per 
>dent and weave it so that you end up with 40+ threads per inch in 
>the web (which will make it *much* narrower than the width of the 
>reed), you might be able to come up with a fabric with decent 
>draping qualities.  Let us know how it works.
>Joan
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At 6:50 AM -0700 12/10/03, h-costume-request@indra.com wrote:
>Shoot. I don't think I was clear. I also wasn't following the thread
>until recently, so who *knows* what exactly I think I'm replying to!
>I have a 4 shaft, 6 treadle floor loom. Threading pattern is 1 2 3 4 1 2
>3 4 etc. Tied up for tabby and for twill. Weaving is in progress. Warp
>is 24 inches wide, cloth is 23 inches wide (drawing in a little). I
>really do have 2 threads in each dent of the reed. Getting a nice tabby
>with twill bands. Not a basketweave in sight. 1/2 yard woven and 6 1/2
>to go!

You Go GIRL!!! Glad to see more crazy folks out there <G>
Me, I'm still finishing spinning this loverly *black* fleece for 
singles to weave up some herring bone yardage.
Ta
Carol, back to combing!
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Burda has a pattern that might work for you. I saw it the last time I looked
at the catalogue, a whole "German" ensemble that I thought about getting in
case I ever wanted to dress up for Oktoberfest. Cincinnati has a big German
heritage, even a blingual German language public school my children almost
attended. It looked like the Oktoberfest clothes I see every year, more
complicated to sew than your typical "costume" patterns and thus perhaps
(??) more authentic. I figured that since the company is German, it might be
a safe bet. The skirt looked pretty, anyway!

Gail Finke


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I'm using Mainline Jagger 2/20 from Halcyon yarn. Pretty fine, and beats 
spinning it myself!

liz young

Sue Clemenger wrote:

>Liz, what are you using for yarn/thread? The tabby/twill alternating
>sounds pretty.
>I'm saving up for an 8-harness table loom myself (no room in the inn for
>a floor loom.  no room in the budget, either! ;-D)
>--sue
>
>Elizabeth Young wrote:
>  
>
>>Shoot. I don't think I was clear. I also wasn't following the thread
>>until recently, so who *knows* what exactly I think I'm replying to!
>>I have a 4 shaft, 6 treadle floor loom. Threading pattern is 1 2 3 4 1 2
>>3 4 etc. Tied up for tabby and for twill. Weaving is in progress. Warp
>>is 24 inches wide, cloth is 23 inches wide (drawing in a little). I
>>really do have 2 threads in each dent of the reed. Getting a nice tabby
>>with twill bands. Not a basketweave in sight. 1/2 yard woven and 6 1/2
>>to go!
>>
>>liz young
>>
>>    
>>




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From: "Joan Broneske" <unicorn@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Dirndl pattern
Date: Wed, 10 Dec 2003 08:35:09 -0800
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Thanks to all for the Dirndl suggestions.  I checked Burda, but all I could
find were contemporary clothing.  I did check out the Trachten Review and
that looks good, so I might buy a copy.

                  ,%%%,
             --==% `%%%,
                 |' )`%%,
                 \_/\ @%%,
                   __@@" %%%--"""-.%,
                  /`__|             \%%
                  \\  \   /   |     /'%,
                   \]  | /----'.   < `%,
Joan Broneske          ||       `>>>
unicorn@surewest.net   ||       ///`
                       /(      //(


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Theresa Eacker
Sent: Wednesday, December 10, 2003 12:06 AM
To: Historical Costume
Subject: Re: [h-cost] Dirndl pattern


This one looks interesting:

http://store.german-usa.com/Books/Needlework___Sewing/Clothes_Making/trachte
n_dirndl_revue_2000.html

Theresa Eacker


Kim Baird wrote:
> Try the Burda pattern company
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Joan Broneske
> Sent: Tuesday, December 09, 2003 9:48 AM
> To: H-costume
> Subject: [h-cost] Dirndl pattern
>
> Does anyone know where I can find a pattern for a traditional German
> Dirndl,
> besides the Folkwear one?
>
> Thanks,
>
>                   ,%%%,
>              --==% `%%%,
>                  |' )`%%,
>                  \_/\ @%%,
>                    __@@" %%%--"""-.%,
>                   /`__|             \%%
>                   \\  \   /   |     /'%,
>                    \]  | /----'.   < `%,
> Joan Broneske          ||       `>>>
> unicorn@surewest.net   ||       ///`
>                        /(      //(
>
>
> _______________________________________________
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Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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--- Catherine Olanich Raymond <cathy@thyrsus.com>
wrote:
> the African 
> Barbie (they did specify which country she was from,
> but I've forgotten) were 
> not half bad, all things considered. 
> 

http://www.barbiecollectibles.com/shop/product.aspx?product_id=59295

I especially like how she's walking on her tiptoes. 
(Can't speak to the rest of the costume.)

-Angela

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From h-costume-bounces@indra.com  Wed Dec 10 17:44:04 2003
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Date: Wed, 10 Dec 2003 17:39:58 -0500
From: Vicki L Lamb <vlamb@cds.duke.edu>
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Subject: [h-cost] Working with leather
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Greetings,
I'm delurking (once again) to ask for some help. I've purchased some 
oyster colored suede to make a fencing doublet similar to ones from the 
late 1500s in Janet Arnold's "Patterns of Fashion". I don't have a lot 
of experience working with leather, so I was wondering if someone could 
recommend books or websites on such things. I'm particularly interested 
in how to do the seams. Any advice or help would be greatly appreciated!
Thanks,
Vicki

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Subject: [h-cost] 16th c. interlaced embroidery patterns
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Hi all

I know we spoke of embroidered knotwork (or interlaced) not being Celtic. 
But did anyone realize that an interlaced style blackwork embroidery is 
actually found in a German book of designs? I thought maybe Arabic or 
something eastern, but German? That just dropped my jaw.

http://costume.dm.net/blackwork/germanblackwork.html

It is the 33rd one down, interlaced knots and a heart in the middle.

Sources indicate it was found in both of the following books:
A: Hans Hofer's Formbüchlein, Augsburg, 1545. Reprinted in 1913 as 
"Zwickauer Facsimiledrucke No. 23" by S. Zwickau, Verlag von F. Ullmann. 
(Facsimile) Book located in an unnamed Chicago library.

B: Nicolas Bassée's New Modelbuch of 1568. Located in the rare book 
collection on the Newberry Library in Chicago, Illinois, USA.

And there is another interlaced style #36 down, or three down from the 
first one. #38 and #39, too. Hehehe... my husband's going to get German 
design (perfect for his German heritage), and everyone will think it is 
Celtic. Oh, my.

Just thought I would share. I would love to hear feedback on this.

Kimiko

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

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


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From h-costume-bounces@indra.com  Wed Dec 10 19:05:52 2003
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From: Chris Laning <claning@igc.org>
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Subject: Re: [h-cost] 16th c. interlaced embroidery patterns
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ery of Kimiko wrote:
>I know we spoke of embroidered knotwork (or interlaced) not being Celtic. 
>But did anyone realize that an interlaced style blackwork embroidery is 
>actually found in a German book of designs? I thought maybe Arabic or 
>something eastern, but German? That just dropped my jaw.

Yup, it's all over French and Italian portraits too, once you start looking. For example, look for the Jean Clouet portrait of Francis I  at: http://gallery.euroweb.hu/art/c/clouet/jean/francois.jpg

The white strips on his sleeves and chest clearly have couched interlaced cord trimming.

I have a very simple pattern of interlacing in black on my burgundy Court gown, and every so often someone will come up and compliment me on the "Celtic interlace" trim. I just smile sweetly and say "Thank you!"
<g>

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0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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From h-costume-bounces@indra.com  Wed Dec 10 20:40:23 2003
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From: "Sharmah Wardlaw-Otwell" <sharmah64@hotmail.com>
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Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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Hi,

No one has mentioned the India Barbie--I thinks she's amazing and the sari 
is gorgeous! She was a bit hard to find in the stores,but I have two of 
them--one for myself and my two year old.

                                                                           
Sharmah


>From: Angela Kessler <ivyharpdotcom@yahoo.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
>Date: Wed, 10 Dec 2003 14:34:46 -0800 (PST)
>
>
>--- Catherine Olanich Raymond <cathy@thyrsus.com>
>wrote:
> > the African
> > Barbie (they did specify which country she was from,
> > but I've forgotten) were
> > not half bad, all things considered.
> >
>
>http://www.barbiecollectibles.com/shop/product.aspx?product_id=59295
>
>I especially like how she's walking on her tiptoes.
>(Can't speak to the rest of the costume.)
>
>-Angela
>
>__________________________________
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On Wednesday 10 December 2003 08:38 pm, Sharmah Wardlaw-Otwell wrote:
> Hi,
>
> No one has mentioned the India Barbie--I thinks she's amazing and the sari
> is gorgeous! She was a bit hard to find in the stores,but I have two of
> them--one for myself and my two year old.

Yes, I've seen pictures of it before, and you're quite right.   Mattel seems 
to do the best job on Barbies in ethnic costume that isn't from the distant 
past.  I was a bit surprised not to find it on the "Barbie's Collectibles" 
site.

-- 
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] Pop Culture Continues to Perpetrate Costume Myths
Date: Wed, 10 Dec 2003 23:29:10 -0500
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On Wednesday 10 December 2003 05:34 pm, Angela Kessler wrote:
> --- Catherine Olanich Raymond <cathy@thyrsus.com>
>
> wrote:
> > the African
> > Barbie (they did specify which country she was from,
> > but I've forgotten) were
> > not half bad, all things considered.
>
> http://www.barbiecollectibles.com/shop/product.aspx?product_id=59295
>
> I especially like how she's walking on her tiptoes.
> (Can't speak to the rest of the costume.)

Ah yes, but that's a Barbie thing--they all do that.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: [h-cost] 7-Cane Drawn Bonnet
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Has anyone made the Victoria Louise Mercers 7-cane drawn bonnet?  I'm 
having a lot of questions about the pattern instructions, and they 
aren't in business anymore for me to ask them...

.heather.

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Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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> > I especially like how she's walking on her tiptoes.
> > (Can't speak to the rest of the costume.)
>
>Ah yes, but that's a Barbie thing--they all do that.  :-)

Actually they don't all do that.  Some have flat feet in a realistic size.

Thrift stores have lots of different Barbies, usually without clothes 
anymore, if you just want a Barbie, or Ken, to costume.  Some have 
Rapunzel-like quantities of hair, and some have had their hair removed by 
young costumers.  Some are jointed well enough that you can actually get 
them into full historicals without having to sew them in.  My local thrift 
store sells Barbies and Kens (and other dolls the same shape) for about 
$1/each.


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

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

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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] Bust support, was re: 12th c. bust support
Date: Wed, 10 Dec 2003 22:17:19 -0800
To: Historical Costume <h-costume@indra.com>
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I'll say it a million times -- I love herroom.com, title9sports.com, 
and bravissimo.com.

They all have great bras in DDD and above...


On Dec 1, 2003, at 9:42 PM, kat@grendal.rain.com wrote:

>
>> I started out post-adolescence as a 34A.  Then, about 5 years ago, I
>> lost a fair amount of weight and went down as a result to a 32A.
>>
>> I can find bras in ordinary stores in 32A; Victoria's Secret also
>> carries them. (I'm wearing a VS model as I type this, in fact).  It's
>> just a bit harder to find them because stores stock fewer bras in
>> small sizes....
>
> But the A cup is still fairly small. The 28s and 30s are still
> nonexistant (just like the G cup bras.)You can usually find As, Bs
> and Cs nowadays (mostly at Nordstroms and Victoria Secret) but
> finding the Ds and DDs is still *very* difficult. (Especially the
> DDs. Forget anything larger.) And they are usually in the more ugly
> (to me) styles (like the ones with really heavy, scratchy stretch
> lace on the sides. Ugh.) If I'm lucky they have one in my size
> (either because they didn't get more in than that or because they've
> already sold it to someone else.) And finding them in other stores is
> still pretty impossible.
>
> Frankly, both my 18th C and my several 16th C corsets are far more
> comfortable. They just give one a very odd line in modern clothes. ;)
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
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Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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At 09:54 PM 12/10/2003 -0800, you wrote:
>Thrift stores have lots of different Barbies, usually without clothes 
>anymore, if you just want a Barbie, or Ken, to costume.  Some have 
>Rapunzel-like quantities of hair, and some have had their hair removed by 
>young costumers.  Some are jointed well enough that you can actually get 
>them into full historicals without having to sew them in.  My local thrift 
>store sells Barbies and Kens (and other dolls the same shape) for about 
>$1/each.
>
>
>        CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>          www.FunStuft.com


Thanks for reminding me of what interesting things can be found at thrift 
stores. I have been wanting to try doll dresses, but don't want to shell 
out for a new Barbie that will just end up being modified in major ways. I 
am hoping to find a good red head, that isn't Daphne. Why is it that Barbie 
doesn't come in a natural red head, at least in my local stores they don't, 
unless they are special collectors dolls.

Anyways... thanks again.

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] Dirndle pattern
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Other than the fact that it is Folkwear, what are the objections to the pattern they put out in the '70's?  From dirndls I have seen  as imported fron Germany, I have always thought that they did a pretty good job .  I have used the pattern for almost 30 years now and have never had complaints. After all, it is not hard to make a gathered skirt and bodice.  The skirt can be sewn to the bodice or worn separately with a set of bodices. The first time I made the under bodice I was puzzled as to why the pattern was so short, so I lengthened it ...and then discovered WHY.  Duh!
I have an import that is like the pattern, and realize now that is meant to act like a chemise.  Much easier on the upkeep of the costume, also.
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From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
Date: Thu, 11 Dec 2003 07:01:05 -0600
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I seem to recall Barbie had a redheaded friend named "Midge" - 
mind you, that was 35 years ago.. she is probably a collectable too; by
now!
Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Kimiko Small
Sent: Thursday, December 11, 2003 2:45 AM
To: Historical Costume
Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths

At 09:54 PM 12/10/2003 -0800, you wrote:
>Thrift stores have lots of different Barbies, usually without clothes 
>anymore, if you just want a Barbie, or Ken, to costume.  Some have 
>Rapunzel-like quantities of hair, and some have had their hair removed
by 
>young costumers.  Some are jointed well enough that you can actually
get 
>them into full historicals without having to sew them in.  My local
thrift 
>store sells Barbies and Kens (and other dolls the same shape) for about

>$1/each.
>
>
>        CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>          www.FunStuft.com


Thanks for reminding me of what interesting things can be found at
thrift 
stores. I have been wanting to try doll dresses, but don't want to shell

out for a new Barbie that will just end up being modified in major ways.
I 
am hoping to find a good red head, that isn't Daphne. Why is it that
Barbie 
doesn't come in a natural red head, at least in my local stores they
don't, 
unless they are special collectors dolls.

Anyways... thanks again.

Kimiko


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

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

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From h-costume-bounces@indra.com  Thu Dec 11 08:41:50 2003
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From: Gail & Scott Finke <gailscott@eos.net>
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I am stuck at home for the third day in a row with a child sick with flu,
and for some reason this list is practically dead. So I'm going to beat a
dead horse and reply to this one again in the hopes of prodding things back
to life.

There IS a dirndl skirt in the Burda catalog, at least the one we have in
the US! It is part of a "German" ensemble. If I recall, it is in the regular
dress or skirt part of the catalog, not the costume section.

Gail Finke
 

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From h-costume-bounces@indra.com  Thu Dec 11 08:59:48 2003
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Subject: Re: [h-cost] Re: dirndl
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I am not surprised at all. Since the style is not exactly what we might
think in this country as following fashion, as our pattern companies seem to
do, the dirndl is a common every day-season skirt.  Growing up in the
1950's, this was the homegrown pattern for most of our skirts (country, NH).
Mother called them 'dirndls'. We wore them with a wide variety of tops.
Maybe we should ask, " What makes a skirt a dirndl in the year2003?"
----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Thursday, December 11, 2003 8:40 AM
Subject: [h-cost] Re: dirndl


>
> I am stuck at home for the third day in a row with a child sick with flu,
> and for some reason this list is practically dead. So I'm going to beat a
> dead horse and reply to this one again in the hopes of prodding things
back
> to life.
>
> There IS a dirndl skirt in the Burda catalog, at least the one we have in
> the US! It is part of a "German" ensemble. If I recall, it is in the
regular
> dress or skirt part of the catalog, not the costume section.
>
> 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  Thu Dec 11 09:06:03 2003
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From: Sue Clemenger <mooncat@in-tch.com>
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Sorry about the sick kid, and the dead-ish list.  I haven't been paying
much attention to much lately, between holiday preparations and my
newest obsession (weaving).
Here's a possible topic: A lot of us are forever expanding our skills
and knowledge-bases.  So...what new skills have folks been practicing
lately? I've been learning to weave (twill is a blast--my learning piece
[a series of towel-things] is done in a sort of herringbone pattern, and
this little diamond-like pattern that's swedish, I think).  And I want
to experiment with some scarves woven using medieval weaves, plus one
that's based on this article in _Handwoven_ on the LoTR cloaks.
--sue

Gail & Scott Finke wrote:
> 
> I am stuck at home for the third day in a row with a child sick with flu,
> and for some reason this list is practically dead. So I'm going to beat a
> dead horse and reply to this one again in the hopes of prodding things back
> to life.
> 
> There IS a dirndl skirt in the Burda catalog, at least the one we have in
> the US! It is part of a "German" ensemble. If I recall, it is in the regular
> dress or skirt part of the catalog, not the costume section.
> 
> 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  Thu Dec 11 09:10:33 2003
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While I bet a whole lot of us are caught up in the holidays and "life"
requirements (I know I am!), I betcha we've also got projects planned
for the new year.
So...what are we all going to be doing?
I'm planning on the following:
--lots of weaving samples from pre-17th c. sources
--a 10th-c. (western) Norse woman's outfit (handsewn)
--and a shirt for a friend, based on a 16th c. german shirt that was
posted on this list a while ago (this will have lots of blackwork and
pulled-thread embroidery)
--oh, and a Flemish market outfit for myself (a bunch of us locals want
to form a group that meets once a week and works on them), and
--at least one 12th/13th c. German outfit
--sue, who will never, never get tired of fibers and fabric! ;o)
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----- Thanks, everyone, for your most helpful replies! You all have cleared
up a lot of the more misty issues for me, I surely do appreciate the time
you took to answer my questions! Thanks so much!

Sarah

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Subject: [h-cost] LoTR cloaks
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to experiment with some scarves woven using medieval weaves, plus one
that's based on this article in _Handwoven_ on the LoTR cloaks.


Which issue of Handwoven???
Thanks
Carol
Yeah, like I *need* another loom project <G>
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Subject: Re: [h-cost] Another new topic
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> So...what are we all going to be doing?

My namesake, this time with a closer eye to authenticity.

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From h-costume-bounces@indra.com  Thu Dec 11 09:41:17 2003
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Subject: [h-cost] Re: Pop Culture Continues to Perpetrate Costum
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Thanks for reminding me of what interesting things can be found at
thrift 
stores. I have been wanting to try doll dresses, but don't want to
shell 
out for a new Barbie that will just end up being modified in major
ways. I 
am hoping to find a good red head, that isn't Daphne. Why is it that
Barbie 
doesn't come in a natural red head, at least in my local stores they
don't, 
unless they are special collectors dolls.

Anyways... thanks again.

Kimiko
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Teddy Bears are also great to rescue from thrift stores and dress up. 
I have done several SF and rennie costumes on bears for folks over the
years.  One of their advantages over Barbie dolls is that you can pin
things to them for fitting :).   Hint:  get the ones with longer arms
and legs, easier to fit, especially if you need to do sleeve details.

Catherine
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From h-costume-bounces@indra.com  Thu Dec 11 09:46:08 2003
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From: "Teena Paradise" <bkessinger@ureach.com>
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Subject: Re: [h-cost] Another new topic
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Well lets see.....
First, a full length houpelande for my husband out of this gorgeous green
and gold brocade.
Then, a farsetto and giornea for one of the students in my SCA Barony (he
looks just like Orlando Bloom!).
Then a fur-lined cioppa for myself .
I am also starting a research project tracing the evolution of the Italian
v-necked overdress and an Italian Ren dress image archive for the 14th and
15th centuries.

Also... how is this for training my husband up right..... He woke me at 5 am
to say goodbye as he was leaving for work and asked if silk would be an
appropriate fabric for a houpelande. Apparently he had found some lovely
blue silk in my fabric stash. When I met him, he didn't know silk from a
hole in the ground! That is one of the reasons why I love him!

Teena

----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Thursday, December 11, 2003 9:12 AM
Subject: [h-cost] Another new topic


> While I bet a whole lot of us are caught up in the holidays and "life"
> requirements (I know I am!), I betcha we've also got projects planned
> for the new year.
> So...what are we all going to be doing?
> I'm planning on the following:
> --lots of weaving samples from pre-17th c. sources
> --a 10th-c. (western) Norse woman's outfit (handsewn)
> --and a shirt for a friend, based on a 16th c. german shirt that was
> posted on this list a while ago (this will have lots of blackwork and
> pulled-thread embroidery)
> --oh, and a Flemish market outfit for myself (a bunch of us locals want
> to form a group that meets once a week and works on them), and
> --at least one 12th/13th c. German outfit
> --sue, who will never, never get tired of fibers and fabric! ;o)
> _______________________________________________
> 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 Dec 11 09:48:20 2003
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From: "Kelly Dorman" <robinandkellydorman@hotmail.com>
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Subject: [h-cost] 7 cane drawn bonnet
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Hello (coming out of lurkdom),
 
 I've made that pattern several times, and yes, the directions are rather cryptic in some regards. I'd be glad to help anyway I can - what are your questions? I don't remember if my first one had seven canes or not, and unfortunately it is in storage "across" for several more months until I finally have a home again (currently I have a foundation!) I know on subsequent bonnets I added more canes and also inserted some ruffles between the canes.
Kelly Dorman
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Date: Thu, 11 Dec 2003 10:01:43 -0500
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Another new topic
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I'll bite...

         An arming coat, ca 1380.  Quilted black velvet with yellow silk 
Cathar crosses couched down and beaded.
                 Lined in satin,  quilted with wool.
                 handsewn  already started due March
         A pair of gloves knit of merino and silk,  guage = 20 st. / inch
                 due March  already started
         A kirtle Flemish ca 1430.
                 Handsewn.  due March
         A gown Venetian / perhaps Sienese of green velvet ca. 1550.
                 due January
         A chemise for the preceeding gown...  the goldwork for the chemise 
is done.
                 due January
         A Spanish kirtle ca. 1450s  of shot silk, carnary warp and crimson 
weft,  looks like its on fire in the light.
                 already started,  due January
         A spanish over gown  ca. 1450s of crimson velvet
                 due January   The gold passamentiere work is in progress

That's it.
Bridgette

>While I bet a whole lot of us are caught up in the holidays and "life"
>requirements (I know I am!), I betcha we've also got projects planned
>for the new year.
>So...what are we all going to be doing?
>I'm planning on the following:
>--lots of weaving samples from pre-17th c. sources
>--a 10th-c. (western) Norse woman's outfit (handsewn)
>--and a shirt for a friend, based on a 16th c. german shirt that was
>posted on this list a while ago (this will have lots of blackwork and
>pulled-thread embroidery)
>--oh, and a Flemish market outfit for myself (a bunch of us locals want
>to form a group that meets once a week and works on them), and
>--at least one 12th/13th c. German outfit
>--sue, who will never, never get tired of fibers and fabric! ;o)
>_______________________________________________


Mari Stewart
Cornell University


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Another new topic
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On Thu, 11 Dec 2003, Sue Clemenger wrote:

> While I bet a whole lot of us are caught up in the holidays and "life"
> requirements (I know I am!), I betcha we've also got projects planned
> for the new year.
> So...what are we all going to be doing?

 -- Finishing revisions on my new lecture on heraldic dress (I presented
it informally for a small group last summer -- hi, Teena! -- and need to
spruce it up), which includes visiting at least three libraries/museums to
get new slides.
 -- Lecture days (both to include the above lecture) in Philadelphia on
Feb. 28 and Springfield, Illinois on March 13.
 -- Revising a three-year-old not-yet-published paper to go into the first
volume of Medieval Dress & Textiles, and getting photo permissions (gaaak)
for it.
 -- Working with authors (hi Drea and Susan!) for eight or so other papers
for that same volume, editing the resulting papers, and dealing with the
publisher to get the thing in print.
 -- Reviewing at least one book for the above, assuming my review copy
ever gets here.
 -- Reading drafts of papers for the DISTAFF sessions at Kalamazoo in May;
other frantic preparations for the conference; running a track of four
sessions and a reception.
 -- Making a living and supporting a family of four.

That takes me through mid-May.

Sewing? Who's got time to sew? Of course that doesn't stop me from buying
more fabric... Though I would love to make a proper headdress to wear with
my lecture outfit. What I've got is a stage-prop set of half-globe cauls
:-P

--Robin

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>>> ckinsey@kumc.edu 12/11/03 2:40:11 PM >>>

>Teddy Bears are also great to rescue from thrift stores and dress up.

>I have done several SF and rennie costumes on bears for folks over
the
>years.  One of their advantages over Barbie dolls is that you can pin
>things to them for fitting :).   Hint:  get the ones with longer arms
>and legs, easier to fit, especially if you need to do sleeve details.

>Catherine

Yes, I dressed a bear I got as a free gift once, but found the cut a
bit tricky because of the thickness of the arms compared to a person!


Kate Bunting
Library, University of Derby
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Subject: Re: New topics, was:[h-cost] Re: dirndl
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> Here's a possible topic: A lot of us are forever expanding our skills
> and knowledge-bases.  So...what new skills have folks been practicing
> lately?

Besides Christmas planning and shopping? Hmm... I've been intensely
scrutinizing PoF and starting to understand how things were built then. The
amount of info in these books is amazing!
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> So...what are we all going to be doing?

We're trying to plan a wedding outfit for one of my male friends. He's
usually early period (read basic T-tunic) in the SCA but both he and his
girlfriend want something else for the wedding. I'm trying to steer him
towards Margo's patterns. He has an eye on Boromir's outfit in the first
part of the Fellowship, but he's short (not even 5'5) and chubby, so I will
never make him something as long as Boromir's vest. He also has an eye on
the fur cape at the beginning of Gladiator. The problem he has with
Renaissance stuff is that he wants to be a barbarian with chainmail and a
battle axe. We're set on a leather doublet/vest/something, but what shape it
would have and what it would go with is still a mystery.

Any suggestions?
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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Hi.
Just looked. Did you see the doll with the blue dress called princess of the
danish court.
I wonder why they call it danish. I have never seen a portrait of a princes
with this dress. well well, it is a pretty dress,

Bjarne from Denmark


----- Original Message -----
From: "Angela Kessler" <ivyharpdotcom@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 10, 2003 11:34 PM
Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths


>
> --- Catherine Olanich Raymond <cathy@thyrsus.com>
> wrote:
> > the African
> > Barbie (they did specify which country she was from,
> > but I've forgotten) were
> > not half bad, all things considered.
> >
>
> http://www.barbiecollectibles.com/shop/product.aspx?product_id=59295
>
> I especially like how she's walking on her tiptoes.
> (Can't speak to the rest of the costume.)
>
> -Angela
>
> __________________________________
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On Thu, 11 Dec 2003 07:12:32 -0700 Sue Clemenger <mooncat@in-tch.com>
writes:
> While I bet a whole lot of us are caught up in the holidays and 
> "life"
> requirements (I know I am!), I betcha we've also got projects 
> planned
> for the new year.
> So...what are we all going to be doing?

I'm embroidering a lot of Xmas gifts this year. Next year, I want to
learn German brick stitch and possibly needlelace (if my hands will let
me). I also hope to get some music to a publisher. Other projects--finish
putting two classes together, one on attitudes towards and expectations
of medieval wives based on primary source materials, and one on
competition preparation, both for SCA, both for a March session of the
University of Ithra in the Portland (OR) area.

Arlys


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From: "Joan Broneske" <unicorn@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: dirndl
Date: Thu, 11 Dec 2003 08:07:58 -0800
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I did happen to locate the Burda patterns on line and found the dirndl
pattern.  I tried looking for it the other day, and I found a site with
Burda patterns, but all I could find on that site were contemporary clothes.
Now I just have to either order it or find somewhere locally that sells
Burda patterns.

I have the Folkwear dirndl pattern, and I think I may make it up just to see
how it looks.  The only thing about it that strikes me kind of funny is the
fact that there is kind of a weird gusset in the breast area of the lower
cut bodice and I'm wondering if that is really a necessary piece, or could
it be left out? Is it for shaping?

                  ,%%%,
             --==% `%%%,
                 |' )`%%,
                 \_/\ @%%,
                   __@@" %%%--"""-.%,
                  /`__|             \%%
                  \\  \   /   |     /'%,
                   \]  | /----'.   < `%,
Joan Broneske          ||       `>>>
unicorn@surewest.net   ||       ///`
                       /(      //(


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Gail & Scott Finke
Sent: Thursday, December 11, 2003 5:41 AM
To: h-costume@indra.com
Subject: [h-cost] Re: dirndl



I am stuck at home for the third day in a row with a child sick with flu,
and for some reason this list is practically dead. So I'm going to beat a
dead horse and reply to this one again in the hopes of prodding things back
to life.

There IS a dirndl skirt in the Burda catalog, at least the one we have in
the US! It is part of a "German" ensemble. If I recall, it is in the regular
dress or skirt part of the catalog, not the costume section.

Gail Finke


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Subject: Re: [h-cost] 16th c. interlaced embroidery patterns
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Curiously, where you DON'T see _as much_ is in Spain...so much for 
"Spanish Work"....
Jessamyn/Grace
On Wednesday, December 10, 2003, at 04:05 PM, Chris Laning wrote:

> ery of Kimiko wrote:
>> I know we spoke of embroidered knotwork (or interlaced) not being 
>> Celtic.
>> But did anyone realize that an interlaced style blackwork embroidery 
>> is
>> actually found in a German book of designs? I thought maybe Arabic or
>> something eastern, but German? That just dropped my jaw.
>
> Yup, it's all over French and Italian portraits too, once you start 
> looking. For example, look for the Jean Clouet portrait of Francis I  
> at: http://gallery.euroweb.hu/art/c/clouet/jean/francois.jpg
>
> The white strips on his sleeves and chest clearly have couched 
> interlaced cord trimming.
>
> I have a very simple pattern of interlacing in black on my burgundy 
> Court gown, and every so often someone will come up and compliment me 
> on the "Celtic interlace" trim. I just smile sweetly and say "Thank 
> you!"
> <g>
>
> ____________________________________________________________
> 0  Chris Laning
> |  <claning@igc.org>
> +  Davis, California
> ____________________________________________________________
> _______________________________________________
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Subject: Re: New topics, was:[h-cost] Re: dirndl
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> Here's a possible topic: A lot of us are forever expanding our skills
> and knowledge-bases.  So...what new skills have folks been practicing
> lately?
>
>
I'm working on hand seam finishings, as well as some new embroidery skills.
I mean if you're going to have a handsewn late 14th-early 15th ensemble, you
NEED that alms purse too.  I've never done split stitch or intense shading
that so it will be a new experience.

I'm still researching enameling techniques for making some Elizabethan style
jewelry.

I'm still working on shoe making so I have the proper shoes, regardless of
the era and style that I'm wearing.

And since I have lots of "free time"* I'm learning to do calligraphy and
illumination, inspired from looking at lots of such works for costume
inspiration for the ensemble mentioned above.

Cyn
* ok, so I have a compulsion to create and I like to challenge myself.  I
don't know what free time is anymore.


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Subject: Re: [h-cost] Another new topic
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>>>>>>>>
We're trying to plan a wedding outfit for one of my male friends. He's
usually early period (read basic T-tunic) in the SCA but both he and his
girlfriend want something else for the wedding. I'm trying to steer him
towards Margo's patterns. He has an eye on Boromir's outfit in the first
part of the Fellowship, but he's short (not even 5'5) and chubby, so I will
never make him something as long as Boromir's vest. He also has an eye on
the fur cape at the beginning of Gladiator. The problem he has with
Renaissance stuff is that he wants to be a barbarian with chainmail and a
battle axe. We're set on a leather doublet/vest/something, but what shape it
would have and what it would go with is still a mystery.

Any suggestions?

>>>>>>>>>>
Just off the top of my head, what did the Varangian Guard wear?  Did they 
stick with "ethnic" clothing, or did they get a little fancier as time went on?  
Not Renaissance, I know, but it might be easier to get him into it.

I saw some incredible stuff at a travelling exhibit on the Russian Czars, but 
even the early outfits aren't all that barbarian.

Leah
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Another new topic
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Well ,I am learning the intricacies of making fine chain-linked  and pearl jewelry , most of it for christmas season commissions---and maybe a couple of pieces for me:) I'm also working on a Regency style tiara for another friend--due in mid january. Lots of sewing commissions---an Edwardian corset in blue gray taffeta , with black lace  and ribbon trim--due by New Year's Eve; a gold silk cotehardie to go under a black one that was embroidered with  gold heraldic lions--all due by january 8th; a couple of 16th century Italian/venetian style dresses, due in early february ; a 14th century arming coat, due mid february; 2 'Bog  Dresses' and a Viking, due mid march. And , somewhere , in the midst  all of that , it would be fun to make something for ME:(
Albra


Sue Clemenger <mooncat@in-tch.com> wrote:
While I bet a whole lot of us are caught up in the holidays and "life"
requirements (I know I am!), I betcha we've also got projects planned
for the new year.
So...what are we all going to be doing?
I'm planning on the following:
--lots of weaving samples from pre-17th c. sources
--a 10th-c. (western) Norse woman's outfit (handsewn)
--and a shirt for a friend, based on a 16th c. german shirt that was
posted on this list a while ago (this will have lots of blackwork and
pulled-thread embroidery)
--oh, and a Flemish market outfit for myself (a bunch of us locals want
to form a group that meets once a week and works on them), and
--at least one 12th/13th c. German outfit
--sue, who will never, never get tired of fibers and fabric! ;o)
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I'll bite as well...perhaps then I'll get things done, yes?  (Hopefully?)

- ca. 1565-1570 lower-noble Elizabethan gown of brownish-goldish silk noil 
with pearl and garnet beaded silk-satin forepart
- New linen Elizabethan corset for said gown (boned with cable ties)
- New linen smock for said gown
- Linen (woven) stockings for the gown.  Still thinking up what to use for 
garters, probably just ties since they certainly weren't at all like modern 
garters <g>

- Finish a cheongsam that I started in August <g> (yummy dark blue and gold 
brocade)

- Black linen-lined wool kirtle a la Drea's patterns on the Elizabethan 
costuming site (bodice will be interlined with either heavier weight linen if I 
have enough left over from the corset, or cotton duck-type fabric)
[note: This is starting to turn into a Flemish working-class gown project.  
Except that "black was expensive".  

That will take me till...after I get home from college in May.  I'll be 
drafting the kirtle bodice here (hopefully), but it will probably be constructed at 
home.  Because even if my parents were to let me have the machine here, there 
isn't anywhere in my dorm room to put it except on my roommate's head (and 
really, I don't think she'd appreciate being sewn on). 

Christine
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] 7 cane drawn bonnet
Date: Thu, 11 Dec 2003 08:55:46 -0800
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Yay! someone has made it.

Ok, so I'm NOT making it with the canes, because I didn't have enough 
fabric for that, as I am using scrap.  So I just covered
the outer part flat, and gathered the facing.  She mentions nothing 
about lining the inside in the instructions, and I'm really really 
confused about how to attach the capote back.  She says to attach to 
center back top and bottom...  but is that the inside or outside?  I 
haven't been able to find good photos to use, and her instructions are 
so weird!

here's photos of where I'm at now...
http://www.wonderland.com/~alice/bonnet/

It's all in silk duchesse, and I love it, but I'm just not sure what 
she meant for me to do.

.heather.


On Dec 11, 2003, at 6:47 AM, Kelly Dorman wrote:

> Hello (coming out of lurkdom),
>
>  I've made that pattern several times, and yes, the directions are 
> rather cryptic in some regards. I'd be glad to help anyway I can - 
> what are your questions? I don't remember if my first one had seven 
> canes or not, and unfortunately it is in storage "across" for several 
> more months until I finally have a home again (currently I have a 
> foundation!) I know on subsequent bonnets I added more canes and also 
> inserted some ruffles between the canes.
> Kelly Dorman
> _______________________________________________
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Subject: Re: [h-cost] Re: dirndl
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On 12/11/03 8:07 AM, "Joan Broneske" <unicorn@surewest.net> wrote:

> I did happen to locate the Burda patterns on line and found the dirndl
> pattern.  I tried looking for it the other day, and I found a site with
> Burda patterns, but all I could find on that site were contemporary clothes.
> Now I just have to either order it or find somewhere locally that sells
> Burda patterns.
> 
Joan, the two Joann Fabrics in my area sell Burda patterns. And at 50% off.

LynnD

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> Just off the top of my head, what did the Varangian Guard wear?  Did
> they stick with "ethnic" clothing, or did they get a little fancier as
> time went on?  Not Renaissance, I know, but it might be easier to get
> him into it.

They wore Byzantine soldier's clothing. Most of them were of Norse or 
Russian extraction but took up the wearing of the clothes of the area 
where they were working as soon as they got there. So, kneelength 
Byzantine tunic with a cloak was the most common thing you'd see them 
wear. They wore colored hose beneath the tunic.

Unfortunately, there are *no* good books on the costuming of the 
Byzantines. You have to go to the art (especially manuscripts and the 
like) to know what was being worn. So, look in history books (because 
they often have the art as illustrations) and books like the 
Metropolitan Museum of Art's _The Glory of Byzantium_. Look for the 
guys with spears who are guarding the Royals as those are usually the 
Varangians.

Kat
<kat@redtrollforge.com>


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> Thanks for reminding me of what interesting things can be found at
> thrift stores. I have been wanting to try doll dresses, but don't want
> to shell out for a new Barbie that will just end up being modified in
> major ways. I am hoping to find a good red head, that isn't Daphne.
> Why is it that Barbie doesn't come in a natural red head, at least in
> my local stores they don't, unless they are special collectors dolls.

They used to sell just the heads in various colors of hair with 
various hairstyles. They were very useful after cousins or careless 
friends damaged your Barbie's hair. (I still have my original Barbie 
with the 1957 copyright stamped into her back. Of course, she's not 
in mint condition as she got lots of use. But I still have her and 
others such as Tutti the preschooler and Skipper the middle 
schooler.)

Kat
<kat@redtrollforge.com>


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Right now I am sewing a waistcoat for my boy, and a bonnet for me.

In the new year, I'll be making some Edwardians for a picnic (not sure 
what the design will be yet!) and an 1830's full ensemble for Costume 
College.


.heather.



On Dec 11, 2003, at 7:59 AM, Audrey Bergeron-Morin wrote:

>> So...what are we all going to be doing?
>

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Oh, and I forgot -- in the new year I'll be sewing three wedding 
dresses for May/June/July weddings, and one waistcoat, and possibly 
some bridesmaids dresses, too!


On Dec 11, 2003, at 9:30 AM, Heather Meadows wrote:

> Right now I am sewing a waistcoat for my boy, and a bonnet for me.
>
> In the new year, I'll be making some Edwardians for a picnic (not sure 
> what the design will be yet!) and an 1830's full ensemble for Costume 
> College.
>
>
> .heather.
>
>
>
> On Dec 11, 2003, at 7:59 AM, Audrey Bergeron-Morin wrote:
>
>>> So...what are we all going to be doing?
>>
>
> _______________________________________________
> h-costume mailing list
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Date: Thu, 11 Dec 2003 10:09:30 -0800 (PST)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Another new topic
To: Historical Costume <h-costume@indra.com>
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Hmmm,

First: wedding ensemble for my wedding - mid-14th Cen
GFD with sideless surcoat (from the skin out) for me,
cotehardies for the groom and his 3 groomsmen and GFDs
for my three attendents--thank goodness the MOH is
helping! (the other 2 will as well, but they're not as
proficient yet)

Second: chuppah for said wedding, so that my friend
Bronwyn can get the embroidery done on it (her wedding
gift)

2 outfits for my youngest attendent because she has
very little clothing to wear to events and
conventions.

I want to make one of the victorian outfits from the
books I ordered from Fran last year as a self-birthday
gift.

Molly and I are also working on a Masquerade
presentation for April based on LOTR. 

I've got a commission from a friend who wants "girly"
clothes for an Anglo-Saxon persona- 6 more gowns to
go.

Banners for my household (4 total)

New clothes for my son Teren to wear at events because
he's growing, and he wants his device elements on
them.

New clothes for my step-sons to be, as they are
outgrowing theirs, but don't quite fit Teren's.

I want to look at making an 18th century gown...the
inspiration fabric's been sitting on my shelves now
for 4 years now.

Clear out at least one drawer of UFOs and make one of
the quilts

And of course several non-historical costumes (besides
LOTR) that are sitting in my sketchbook crying to be
made.

Sew much to do, too little time!
Angharad, (wolfcat)
who had a blast with a new friend in the garment
district this month.

__________________________________
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Date: Thu, 11 Dec 2003 10:12:39 -0500 (EST)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bust support, was re: 12th c. bust support
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Heather,

Thanks so much! I'm a DDD/F, and gave up finding nice bras long
ago...these sites are great!

Drea


On Wed, 10 Dec 2003, Heather Meadows wrote:

> I'll say it a million times -- I love herroom.com, title9sports.com,
> and bravissimo.com.
>
> They all have great bras in DDD and above...
>
>
> On Dec 1, 2003, at 9:42 PM, kat@grendal.rain.com wrote:
>
> >
> >> I started out post-adolescence as a 34A.  Then, about 5 years ago, I
> >> lost a fair amount of weight and went down as a result to a 32A.
> >>
> >> I can find bras in ordinary stores in 32A; Victoria's Secret also
> >> carries them. (I'm wearing a VS model as I type this, in fact).  It's
> >> just a bit harder to find them because stores stock fewer bras in
> >> small sizes....
> >
> > But the A cup is still fairly small. The 28s and 30s are still
> > nonexistant (just like the G cup bras.)You can usually find As, Bs
> > and Cs nowadays (mostly at Nordstroms and Victoria Secret) but
> > finding the Ds and DDs is still *very* difficult. (Especially the
> > DDs. Forget anything larger.) And they are usually in the more ugly
> > (to me) styles (like the ones with really heavy, scratchy stretch
> > lace on the sides. Ugh.) If I'm lucky they have one in my size
> > (either because they didn't get more in than that or because they've
> > already sold it to someone else.) And finding them in other stores is
> > still pretty impossible.
> >
> > Frankly, both my 18th C and my several 16th C corsets are far more
> > comfortable. They just give one a very odd line in modern clothes. ;)
> >
> > 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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Greetings,

I'll be doing mostly graduate school stuff.  Funny how that doesn't 
leave room for much else.  :D  I would really like to finish the black 
work coif I started *mumble* years ago.  It's the only outstanding 
project I have.
Althea

On Thursday, December 11, 2003, at 07:38 AM, Cynthia J Ley wrote:

> On Thu, 11 Dec 2003 07:12:32 -0700 Sue Clemenger <mooncat@in-tch.com>
> writes:
>> While I bet a whole lot of us are caught up in the holidays and
>> "life"
>> requirements (I know I am!), I betcha we've also got projects
>> planned
>> for the new year.
>> So...what are we all going to be doing?
>
> I'm embroidering a lot of Xmas gifts this year. Next year, I want to
> learn German brick stitch and possibly needlelace (if my hands will let
> me). I also hope to get some music to a publisher. Other 
> projects--finish
> putting two classes together, one on attitudes towards and expectations
> of medieval wives based on primary source materials, and one on
> competition preparation, both for SCA, both for a March session of the
> University of Ithra in the Portland (OR) area.
>
> Arlys
>
>
> ________________________________________________________________
> 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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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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From: Katy Bishop <vintage@shore.net>
To: Joan Broneske <unicorn@surewest.net>
Subject: RE: [h-cost] Re: dirndl
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On Thu, 11 Dec 2003, Joan Broneske wrote:
>
>I have the Folkwear dirndl pattern, and I think I may make it up just to see
>how it looks.  The only thing about it that strikes me kind of funny is the
>fact that there is kind of a weird gusset in the breast area of the lower
>cut bodice and I'm wondering if that is really a necessary piece, or could
>it be left out? Is it for shaping?

I have a dirndl I got in Vienna (about 25 years ago) in black linen with
hooks at center front and the gusset shaping you mentioned from the
Folkwear Pattern.  It shapes the bust area in place of princess seams,
as the bodice is cut low enough to not curve back in over the top of
bust but forms more of a shelf.  The blouse then covers the bust.

The Flokwear Pattern is pretty good and accurate.  I would recemmend it.

The dirndl I got in Vienna last year has a very deep dart from the
waist, and a bust dart coming from the armhole, and a separate front
piece acting as a stomacher.  It is higher cut over the bust.

Let me know if I can give further info.

Katy

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Subject: Re: [h-cost] Another new topic
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Status: RO

hello,

Would you please tell me the group that is publishing this journal and 
who I would talk to about doing book reviews?
Thank you,
Althea Turner

On Thursday, December 11, 2003, at 08:40 AM, Robin Netherton wrote:

>
> On Thu, 11 Dec 2003, Sue Clemenger wrote:
>
>> While I bet a whole lot of us are caught up in the holidays and "life"
>> requirements (I know I am!), I betcha we've also got projects planned
>> for the new year.
>> So...what are we all going to be doing?
>
>  -- Finishing revisions on my new lecture on heraldic dress (I 
> presented
> it informally for a small group last summer -- hi, Teena! -- and need 
> to
> spruce it up), which includes visiting at least three 
> libraries/museums to
> get new slides.
>  -- Lecture days (both to include the above lecture) in Philadelphia on
> Feb. 28 and Springfield, Illinois on March 13.
>  -- Revising a three-year-old not-yet-published paper to go into the 
> first
> volume of Medieval Dress & Textiles, and getting photo permissions 
> (gaaak)
> for it.
>  -- Working with authors (hi Drea and Susan!) for eight or so other 
> papers
> for that same volume, editing the resulting papers, and dealing with 
> the
> publisher to get the thing in print.
>  -- Reviewing at least one book for the above, assuming my review copy
> ever gets here.
>  -- Reading drafts of papers for the DISTAFF sessions at Kalamazoo in 
> May;
> other frantic preparations for the conference; running a track of four
> sessions and a reception.
>  -- Making a living and supporting a family of four.
>
> That takes me through mid-May.
>
> Sewing? Who's got time to sew? Of course that doesn't stop me from 
> buying
> more fabric... Though I would love to make a proper headdress to wear 
> with
> my lecture outfit. What I've got is a stage-prop set of half-globe 
> cauls
> :-P
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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From h-costume-bounces@indra.com  Thu Dec 11 13:47:18 2003
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] Bust support, was re: 12th c. bust support
Date: Thu, 11 Dec 2003 10:45:49 -0800
To: Historical Costume <h-costume@indra.com>
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Great!  I'm especially fond of the Lunaire microfiber tshirt bra, on 
herroom.com.  Wired & ready for action from Title9, and I LOVE LOVE 
LOVE the strappy tops with built in bras from bravissimo.

All of those sites have great customer service, too.

.heather.


On Dec 11, 2003, at 7:12 AM, Drea Leed wrote:

> Heather,
>
> Thanks so much! I'm a DDD/F, and gave up finding nice bras long
> ago...these sites are great!
>
> Drea
>
>
> On Wed, 10 Dec 2003, Heather Meadows wrote:
>
>> I'll say it a million times -- I love herroom.com, title9sports.com,
>> and bravissimo.com.
>>
>> They all have great bras in DDD and above...
>>
>>
>> On Dec 1, 2003, at 9:42 PM, kat@grendal.rain.com wrote:
>>
>>>
>>>> I started out post-adolescence as a 34A.  Then, about 5 years ago, I
>>>> lost a fair amount of weight and went down as a result to a 32A.
>>>>
>>>> I can find bras in ordinary stores in 32A; Victoria's Secret also
>>>> carries them. (I'm wearing a VS model as I type this, in fact).  
>>>> It's
>>>> just a bit harder to find them because stores stock fewer bras in
>>>> small sizes....
>>>
>>> But the A cup is still fairly small. The 28s and 30s are still
>>> nonexistant (just like the G cup bras.)You can usually find As, Bs
>>> and Cs nowadays (mostly at Nordstroms and Victoria Secret) but
>>> finding the Ds and DDs is still *very* difficult. (Especially the
>>> DDs. Forget anything larger.) And they are usually in the more ugly
>>> (to me) styles (like the ones with really heavy, scratchy stretch
>>> lace on the sides. Ugh.) If I'm lucky they have one in my size
>>> (either because they didn't get more in than that or because they've
>>> already sold it to someone else.) And finding them in other stores is
>>> still pretty impossible.
>>>
>>> Frankly, both my 18th C and my several 16th C corsets are far more
>>> comfortable. They just give one a very odd line in modern clothes. ;)
>>>
>>> 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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>
> _______________________________________________
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From h-costume-bounces@indra.com  Thu Dec 11 13:54:11 2003
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Currently I am finishing hubby's tudor gear onto that horrid short sleeved coat!
In the works are: netherstocks
Gloves
In the wings:  more blackwork! I have learned to surface couch and I love it!!!! 
Mundane and boring gifts for the holidays:
Puppet theater for my eldest daughter
Fabric Portable chess set For my son
Rag Dolly for the youngest daughter
Hubby is getting a blackworked shirt, tudor doublet, jerkin, cannons, and whatever else I can get finished. ;-)
 
Stitching busily away when I am not reading h-costume, Angelique


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From h-costume-bounces@indra.com  Thu Dec 11 14:13:46 2003
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Date: Thu, 11 Dec 2003 14:18:49 -0500 (EST)
From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] LoTR cloaks
To: Historical Costume <h-costume@indra.com>
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That's just what I was going to ask! While we're on the subject, though, 
is there a fairly comprehensive source our there somewhere on how the 
costumes for LoTR were designed/sewn? And perhaps a source for the 
elven designs, etc? (which looks for all the world like a mish-mash of 
arts and crafts meets celtic knotwork to me...but I'm not complaining! I 
like it!)

Thanks! 
Kate



On Thu, 11 Dec 2003, fastusminimus wrote:

> to experiment with some scarves woven using medieval weaves, plus one
> that's based on this article in _Handwoven_ on the LoTR cloaks.
> 
> 
> Which issue of Handwoven???
> Thanks
> Carol
> Yeah, like I *need* another loom project <G>
> _______________________________________________
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From h-costume-bounces@indra.com  Thu Dec 11 14:21:58 2003
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Still trying to finish some christmas projects; haversacks out of
leftover brocades for this weekend, penny rug style felt ornaments by
the week before christmas.  Also need to finish handsewing all the fake
fur on hubby's new Santa suit.  We are doing a 'folk' santa with a
longer robe and until I started trimming it out it looked like a red
velvet Jedi robe hanging on the door :).

Taking a little time during the holidays to research and start
outlining a class for February on lace beginings in the 16th c. 
Hopefully this means I will actually get some time to lace!

Sewing room is in the basement which gets a bit cool this time of year
(even with space heaters) so I don't have any large sewing projects
planned until spring.  Then I will start an Elizabethan ensemble for an
old roommate.  She has a perfect silhoutte for those highnecked-bodices,
which I don't, so it will be fun working on a different body type.

And as soon as he gets me the peach linen I will be starting to
blackwork some sleeves for a tradeout with another friend.  He is going
to make me some Victorian garb, yipeee!

Catherine
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On Thu, 11 Dec 2003, Althea Turner wrote:

> Would you please tell me the group that is publishing this journal and
> who I would talk to about doing book reviews?

I posted about this a few months ago. This is a new academic journal
called _Medieval Clothing & Textiles_, published by Boydell & Brewer.
Editors are Gale Owen-Crocker and me, so I'm the one you talk to.

As is typical for academic journals, we'll be assigning book reviews to
scholars with appropriate expertise. If you're an academic in a field
related to clothing/textiles, feel free to contact me off-list with your
specialty areas. If you have a book in mind for review, let me know.
However, we already have three reviews tentatively lined up, and that's
probably more than we can include in our first volume.

--Robin






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I just finished a pair of Harlequin and Columbine costumes for NY Revels, A
good friend, who does their costumes, needed emergency last-minute
replacements.
Fortunately, this has turned the sewing back on.  So my current projects are
nothing historical- just trousers, sweaters, shirts, at least three suits,
and a winter
coat- in other words, a full wardrobe.  Three polarfleece shirts are almost
done already.  And maybe, if I'm a really good girl, a new dress for Twelfth
Night?
                      -Helen/Aidan


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From h-costume-bounces@indra.com  Thu Dec 11 14:37:37 2003
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From: Kirrily Robert <skud@infotrope.net>
Subject: [h-cost] slightly OT (17th century)
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This is a wee bit off topic, but I can't think who else will understand,
so you guys get to hear me enthuse :)

Our DNS is finally active, so I can now announce the website of our new
17th century group, the North Downs Fellowship, at
http://northdowns.ca/ndf/

This is why I've been asking about 17th century costume lately.
Incidentally, I'm interested in any/all links for 17th century costume
and other such things.  At the moment I'd like to know of any online
vendors that sell 17th century shoes, hats, and other accessories or
clothing items.  I know about Sykes, but they don't have much clothing.
Where else should I be looking?

K.


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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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References: <Pine.3.89.10312111406.B22050-0100000@equinox.shaysnet.com>
Subject: Re: [h-cost] LoTR cloaks
Date: Thu, 11 Dec 2003 19:43:05 -0000
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Kate wrote:


> That's just what I was going to ask! While we're on the subject,
though,
> is there a fairly comprehensive source our there somewhere on how
the
> costumes for LoTR were designed/sewn?

Try

http://www.alleycatscratch.com/lotr/

It's a very large site. There is also an accompanying Yahoo mailing
list, which is very high traffic, and set to be higher with ROTK
hitting cinemas worldwide. Great fun, but addictive:-)

best wishes
Stevie

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From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] LoTR cloaks
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On Thu, 11 Dec 2003, Stevie Gamble wrote:
> 
> Try
> 
> http://www.alleycatscratch.com/lotr/
> 
> It's a very large site. There is also an accompanying Yahoo mailing
> list, which is very high traffic, and set to be higher with ROTK
> hitting cinemas worldwide. Great fun, but addictive:-)
> 
> best wishes
> Stevie
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
Oh. My. Goodness. I can tell I'll have lots of fun with this site! Thanks!

(And here, I"m supposed to be doing dissertation-like stuff...oh well..!)

Kate


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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] LoTR cloaks
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Kate,

Hi!

If you can nab a copy of the extended DVD of fellowship of the Ring, they
go into lots of detail about the sources for elvish design, why they
picked the types of costumes they did, etc. The section on the costume
shop was jaw-dropping--an unbelieeevable number of costumes!

Drea


On Thu, 11 Dec 2003, Catherine Ussailis wrote:

> That's just what I was going to ask! While we're on the subject, though,
> is there a fairly comprehensive source our there somewhere on how the
> costumes for LoTR were designed/sewn? And perhaps a source for the
> elven designs, etc? (which looks for all the world like a mish-mash of
> arts and crafts meets celtic knotwork to me...but I'm not complaining! I
> like it!)
>
> Thanks!
> Kate
>
>
>
> On Thu, 11 Dec 2003, fastusminimus wrote:
>
> > to experiment with some scarves woven using medieval weaves, plus one
> > that's based on this article in _Handwoven_ on the LoTR cloaks.
> >
> >
> > Which issue of Handwoven???
> > Thanks
> > Carol
> > Yeah, like I *need* another loom project <G>
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] slightly OT (17th century)
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Hi.
Not that i have anything for sale, but i do make costume orders for 17th
century costumes. I made Nicole Kipars blue baroque dress with the silver
lace.

Bjarne


----- Original Message -----
From: "Kirrily Robert" <skud@infotrope.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 11, 2003 8:36 PM
Subject: [h-cost] slightly OT (17th century)


> This is a wee bit off topic, but I can't think who else will understand,
> so you guys get to hear me enthuse :)
>
> Our DNS is finally active, so I can now announce the website of our new
> 17th century group, the North Downs Fellowship, at
> http://northdowns.ca/ndf/
>
> This is why I've been asking about 17th century costume lately.
> Incidentally, I'm interested in any/all links for 17th century costume
> and other such things.  At the moment I'd like to know of any online
> vendors that sell 17th century shoes, hats, and other accessories or
> clothing items.  I know about Sykes, but they don't have much clothing.
> Where else should I be looking?
>
> K.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Since I'm off of work the week between Christmas and New Year's, I hope to get a jump on:

1.  19th c polonaise ballgown (have had luscious silk brocade fabric staring at me for 1 year)
Future plans include: 
2.  Tackle for the third time my aughts ballgown--this time make the complicated bodice work.
3.  '20s evening dress (have had fabric too long to remember when I originally got it)
4. '20s day dress (see above)
5.  Carpet bag from swell carpet kipped at the Rose Bowl (ditto)
6.  Non costume jacket of denim and carpet scraps (after carpet bag completed.  See above)
7.  Replace shattered silk lining on gorgeous vintage embrodered shawl purchased by indulgent spouse on honeymoon trip to Paris (embarassingly, five years ago!)

Actually, should probably re-order this list to do last first...oh, the guilt, the guilt! (And the stupidity of not having this gorgeous shawl to wear!)

Pallas

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] LoTR cloaks
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> >
> > Try
> >
> > http://www.alleycatscratch.com/lotr/
> >
> > It's a very large site. There is also an accompanying Yahoo mailing
> > list, which is very high traffic, and set to be higher with ROTK
> > hitting cinemas worldwide. Great fun, but addictive:-)
> >
Drool!  Bad Stevie. I'll never get any work done. :)

Thanks,

Drea


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Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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----- Original Message ----- 
From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, December 11, 2003 8:01 AM
Subject: RE: [h-cost] Pop Culture Continues to Perpetrate Costume Myths


> I seem to recall Barbie had a redheaded friend named "Midge" -
> mind you, that was 35 years ago.. she is probably a collectable too; by
> now!
> Betsy

Midge is still available, her most recent incarnations is as a married
pregnant woman.

Dianne

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Date: Thu, 11 Dec 2003 14:00:52 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] slightly OT (17th century)
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>This is a wee bit off topic, but I can't think who else will understand,
>so you guys get to hear me enthuse :)

I don't understand how 17th century costuming is off topic for a 
pan-historical costume group ;)  I mean, just because there aren't any of 
this century groups nearby for me to play with doesn't mean it's not 
historical.  (I'm just lucky there's finally an 18th century group here in 
Northern California...)

>Our DNS is finally active, so I can now announce the website of our new
>17th century group, the North Downs Fellowship, at
>http://northdowns.ca/ndf/
>
>This is why I've been asking about 17th century costume lately.
>Incidentally, I'm interested in any/all links for 17th century costume
>and other such things.  At the moment I'd like to know of any online
>vendors that sell 17th century shoes, hats, and other accessories or
>clothing items.  I know about Sykes, but they don't have much clothing.
>Where else should I be looking?


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

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From: "Joan Broneske" <unicorn@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: dirndl
Date: Thu, 11 Dec 2003 14:13:33 -0800
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Thanks, and I just happened to check my local Joann's and lo and behold,
they had it and I promptly purchased it!  Thanks to everyone's suggestions.

                  ,%%%,
             --==% `%%%,
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                 \_/\ @%%,
                   __@@" %%%--"""-.%,
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Joan Broneske          ||       `>>>
unicorn@surewest.net   ||       ///`
                       /(      //(


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lynn Downward
Sent: Thursday, December 11, 2003 9:01 AM
To: h costume
Subject: Re: [h-cost] Re: dirndl


On 12/11/03 8:07 AM, "Joan Broneske" <unicorn@surewest.net> wrote:

> I did happen to locate the Burda patterns on line and found the dirndl
> pattern.  I tried looking for it the other day, and I found a site with
> Burda patterns, but all I could find on that site were contemporary
clothes.
> Now I just have to either order it or find somewhere locally that sells
> Burda patterns.
>
Joan, the two Joann Fabrics in my area sell Burda patterns. And at 50% off.

LynnD

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To: Historical Costume <h-costume@indra.com>
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] slightly OT (17th century)
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At 02:00 PM 12/11/2003 -0800, you wrote:
 (I'm just lucky there's finally an 18th century group here in 
>Northern California...)


(perk)  THERE IS?

Margo

"One Tough Costumer"

www.margospatterns.com
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Thursday, December 11, 2003 5:01 PM
To: Historical Costume
Subject: Re: [h-cost] slightly OT (17th century)



>This is a wee bit off topic, but I can't think who else will understand,
>so you guys get to hear me enthuse :)

I don't understand how 17th century costuming is off topic for a
pan-historical costume group ;)  I mean, just because there aren't any of
this century groups nearby for me to play with doesn't mean it's not
historical.  (I'm just lucky there's finally an 18th century group here in
Northern California...)


   Actually there is a 17th century group in Northern California.  I believe
they are in the Bay area in fact.  They do however primarially a military
impression artillery from the English Civil War.  Do you know Dale Shin of
St Michaels, he is envolved with them. You can find their webpage through
the ECWSA  webpage.

Cheers,
Ron

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Subject: Re: [h-cost] Re: dirndl
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Joan Broneske wrote:

>I did happen to locate the Burda patterns on line and found the dirndl
>pattern.  I tried looking for it the other day, and I found a site with
>Burda patterns, but all I could find on that site were contemporary clothes.
>Now I just have to either order it or find somewhere locally that sells
>Burda patterns.
>
>  
>
What is the pattern number for the Burda dirndl?

liz young


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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] slightly OT (17th century)
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do tell!


On Dec 11, 2003, at 2:48 PM, Margo Anderson wrote:

> At 02:00 PM 12/11/2003 -0800, you wrote:
>  (I'm just lucky there's finally an 18th century group here in
>> Northern California...)
>
>
> (perk)  THERE IS?
>
> Margo
>
> "One Tough Costumer"
>
> www.margospatterns.com
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
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Subject: RE: [h-cost] slightly OT (17th century)
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> >This is a wee bit off topic, but I can't think who else will understand,
> >so you guys get to hear me enthuse :)
>
>I don't understand how 17th century costuming is off topic for a
>pan-historical costume group ;)  I mean, just because there aren't any of
>this century groups nearby for me to play with doesn't mean it's not
>historical.  (I'm just lucky there's finally an 18th century group here in
>Northern California...)
>
>
>    Actually there is a 17th century group in Northern California.  I believe
>they are in the Bay area in fact.  They do however primarially a military
>impression artillery from the English Civil War.  Do you know Dale Shin of
>St Michaels, he is envolved with them. You can find their webpage through
>the ECWSA  webpage.

Duh - Dale Shin the gunsmith.  I had forgotten about them.  Yes, you're 
right, there is 17th Century stuff going on in California - one thing in 
the entire state, as I recall, unless the Sealed Knot Society has an 
outpost here.


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

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>  (I'm just lucky there's finally an 18th century group here in
> >Northern California...)
>
>(perk)  THERE IS?

Bay Privateers, a tiny group with a replica of the boat the mutineers put 
Captain Bligh into.  We get to row it, and haven't captured a single ship 
in it yet...

Here's the official description:

This is a gathering place for Northern Californian 18th Century nautical
re-enactors. All those interested in learning about or sharing their
knowledge of traditional nautical skills are welcome here. The purpose
of this group is to assist the members in the development of their
nautical skills and historical impressions, so that we may become an
asset to both the historic boating and living history communities of
Northern California.

And the website:

http://groups.yahoo.com/i?i=5VxhhM7Ge_TPWIrRT93o8o-mk-8&e=Kayta%40FunStuft%2Ecom

(but you have to do the Yahoo thing to read stuff on it)

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

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 Sounds wonderful! My family does rapier re-enactment with the SCA. If we're in Ottawa, I'd love to visit. *shameless plug*Check out my site, I do 16th and 17th century clothes and toys for men and children. Cheers Wendywww.hecate.ca/emma/  

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The interior of bonnets are generally not lined or at most have about a 3" wide band of organdy tacked in place right where your trimmings stop. This is basically disposable, as it will absorb hair oils and can be easily replaced when soiled.
 When making the bonnet using canes, the last cane is right at the back opening, which leaves a gathered ring of fabric hanging down. You then "play" with the excess fabric until it looks pleasingly gathered or pleated and secure it at the base of the back - doesn't matter if it's on the inside or outside as this will be covered with the curtain or bravolet. Or as happened on the first one I made, there wasn't enough fabric left to reach the bottom, so I gathered all the fabric to the centre and secured it which gave an interesting look.
 You may want to try attaching a gathered piece of fabric right sides together on the back top and sides and then flip it over (right sides out) and then "play" with the arrangement. I wish I could show pictures of mine - it would make it much easier to try to explain.
 You've made a great start and have chosen a  very pretty colour. Do you have plans for your trimmings? If you have enough fabric, it's lovely to gather a piece over just a couple of canes and then tack that in place across the crown - it takes much less fabric than doing all the caning and is relatively low priced (and accurate) trimming.
 Hope this makes some sense and helps, it's very seldom that I can contribute any info to this group!
Kelly 
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From h-costume-bounces@indra.com  Thu Dec 11 19:54:48 2003
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] drawn bonnet
Date: Thu, 11 Dec 2003 16:52:24 -0800
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Status: RO

I was not clear -- Her instructions imply that you are to take the 
leftover fabric and gather it into something that "puffs" at the back 
hole.  I can't tell if this is inside or outside the hole.  I've not 
seen any examples of these bonnets, and so it's really confusing trying 
to take her very unclear directions and make something that I don't 
know what it's supposed to look like out of them... *sigh*.

And I've had several millinery classes, and I'm comfortable making hats 
generally.  I just can't tell what it's supposed to be when it's done, 
so I feel like I have nothing to go by.  I'm just going to plan on 
gathering it to the outside of the whole formed at the back of the 
bonnet.

I went ahead and lined the back in more silk. I did not want the 
buckram showing every time I took it off, and I'm wearing a wig so I 
don't have to worry about oil.  For trim, I was just going to keep it 
very simple and make a few flowers and add ribbons to tie it.

.heather.


(also -- what part would you be calling the "Crown" of the bonnet.  
Just curious.  I've never made one, obviously, and I'm not sure what 
part would be considered the crown on it. )

Thank you so much for your help, Kelly!


On Dec 11, 2003, at 4:26 PM, Kelly Dorman wrote:

> The interior of bonnets are generally not lined or at most have about 
> a 3" wide band of organdy tacked in place right where your trimmings 
> stop. This is basically disposable, as it will absorb hair oils and 
> can be easily replaced when soiled.
>  When making the bonnet using canes, the last cane is right at the 
> back opening, which leaves a gathered ring of fabric hanging down. You 
> then "play" with the excess fabric until it looks pleasingly gathered 
> or pleated and secure it at the base of the back - doesn't matter if 
> it's on the inside or outside as this will be covered with the curtain 
> or bravolet. Or as happened on the first one I made, there wasn't 
> enough fabric left to reach the bottom, so I gathered all the fabric 
> to the centre and secured it which gave an interesting look.
>  You may want to try attaching a gathered piece of fabric right sides 
> together on the back top and sides and then flip it over (right sides 
> out) and then "play" with the arrangement. I wish I could show 
> pictures of mine - it would make it much easier to try to explain.
>  You've made a great start and have chosen a  very pretty colour. Do 
> you have plans for your trimmings? If you have enough fabric, it's 
> lovely to gather a piece over just a couple of canes and then tack 
> that in place across the crown - it takes much less fabric than doing 
> all the caning and is relatively low priced (and accurate) trimming.
>  Hope this makes some sense and helps, it's very seldom that I can 
> contribute any info to this group!
> Kelly
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Hi,

I actually went to FAO Schwarz to find the India Barbie at first,they didn't 
have it and I "accidentally" found it in a Wal-Mart way out in the 
suburbs-like 30 miles away from my home and since it was only like $19,I got 
two!

                                                                          
Sharmah

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From h-costume-bounces@indra.com  Thu Dec 11 21:47:40 2003
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Date: Thu, 11 Dec 2003 19:49:35 -0700
From: Sue Clemenger <mooncat@in-tch.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] LoTR cloaks
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November/December 2003.  The cloak is really cool--in design, it's a
fairly simple half-circle cloak with a hood.  What's neat is what the
artist did for the weave.  For the warp, she used 2 different
thicknesses of 2-ply wool in 10 random "forest" colors.  The weft is a
wool crepe in a "pine needle" colorway.  The weaving pattern is a
shadow-weave design that looks like leaves.  She includes drafts for
either a 4-shaft pattern or an 8-shaft pattern.
The author/artist does mention the alleyscratch website as a good
source.
As a bonus for all of you LoTR fans, _Handwoven_'s planning a "gallery"
of Fellowship cloaks, and is inviting folks to send in pictures of
theirs (for a sort of show-and-tell).
I'd love to make a cloak like this, but I don't have a loom wide
enough.  I'm also not that experienced a weaver.  Yet! <g>
--sue

fastusminimus wrote:
> 
> to experiment with some scarves woven using medieval weaves, plus one
> that's based on this article in _Handwoven_ on the LoTR cloaks.
> 
> Which issue of Handwoven???
> Thanks
> Carol
> Yeah, like I *need* another loom project <G>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Another new topic
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On Thursday 11 December 2003 09:12 am, Sue Clemenger wrote:
> While I bet a whole lot of us are caught up in the holidays and "life"
> requirements (I know I am!),

Ditto, and in spades, but that's definitely OT.  :-)

> I betcha we've also got projects planned
> for the new year.

Arggh.  I hate this question.  (We all answered this one last year, didn't 
we?)  Reading everybody's list of projects always reminds me of the cool 
stuff I've put off, and also of how little I like the actual sewing required 
to make costumes (the planning and fabric selection are the most fun for me).


> So...what are we all going to be doing?

Okay, I'll bite.  Actually, some of these may get done, because I have hard 
deadlines for some of them.  :-)

*  A 10th c. (eastern) Swedish woman's outfit in the correct natural materials 
per the Historiska Museet site's proposed reconstruction (still haven't 
decided how much of this I'll actually handsew, though).

*  A bliaut and underdress (this one's been hanging fire for about 3 years 
now, but I expect to really get to it this time because I want to wear it for 
a live action roleplaying game at the end of Feb. 2004, and I may never have 
a better reason to actually get to it).

*  A bustle dress circa the mid-1870s, with different bodices and different 
overskirts so I will have a day dress and a ball dress (I hope to get the day 
dress parts done by May 2004, as this is for a live action roleplaying game 
campaign that begins in May).

*  A hooded wizard robe for my husband from a Simplicity pattern based on the 
Lord of the Rings (for the same Feb. 2004 game mentioned above so I'd better 
finish it on time!).  :-)

*  A wool apron-dress based on the simple "tube" concept, just so I can say 
I've done it; (I've got some nice dark green wool for this).

*  A wool apron-dress based on the wrap-around concept, ditto;  (Using some 
nice wool flannel for this.  The color is too pale a blue as purchased, but a 
prior experiment with a smaller piece of the same convinced me I can use RIT 
to turn it into a nice medium sky blue shade without felting it 
significantly, so that's what I plan to do).

* A plain linen shift with a keyhole neckline, for wear with early eastern 
Viking costumes.

* A simple panova, or early Russian overskirt, out of the wool flannel that 
was the subject of the RIT experiment referred to above.

And what have I actually managed to make this year? (In case anybody cares)

--White silk salwar, based on an historic pattern from the "Renaissance 
Tailor" site.

--A drawstring skirt, to wear with a sari when I get one (the fabric comes 
with mirrors sewn on in a plausible imitation of Indian embroidery technique, 
which is why couldn't pass it up.

--A matching choli, based on another web site pattern (which has been baffling 
me for a couple of years, but I think I've managed to find a way to make it 
fit well enough to wear it, and I expect to finish it by year's end).

I also have a pattern, fabric, and materials for an 1840's ball gown, which I 
meant to make for a live action game in 2002 and never finished, but the 
fabric and lace I bought are so beautiful I still mean to make it someday, 
especially as I already have underpinnings I can use with it....

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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The number is 8448

                  ,%%%,
             --==% `%%%,
                 |' )`%%,
                 \_/\ @%%,
                   __@@" %%%--"""-.%,
                  /`__|             \%%
                  \\  \   /   |     /'%,
                   \]  | /----'.   < `%,
Joan Broneske          ||       `>>>
unicorn@surewest.net   ||       ///`
                       /(      //(


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Elizabeth Young
Sent: Thursday, December 11, 2003 3:08 PM
To: Historical Costume
Subject: Re: [h-cost] Re: dirndl


Joan Broneske wrote:

>I did happen to locate the Burda patterns on line and found the dirndl
>pattern.  I tried looking for it the other day, and I found a site with
>Burda patterns, but all I could find on that site were contemporary
clothes.
>Now I just have to either order it or find somewhere locally that sells
>Burda patterns.
>
>
>
What is the pattern number for the Burda dirndl?

liz young


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Stuff for Costume Con 22 in Atlanta, early April:

Fantasy/Science Fiction masquerade entry
Fashion Show entry (don't know what yet, the design books aren't out yet)
Finish several hall costumes already in progress
Underpinnings (chemise, farthingale(maybe), bum roll) plus sleeves and 
forepart for purchased Elizabethan pieces, also hemming the skirt and 
trimming everything.  Hubby to do the same (shirt, slops) for 
his.  Decorate the tall hats we have to match (but removable, so they can 
be used again for another outfit).

Then start on the masquerade entry for the World Science Fiction Convention 
in Boston over Labor Day.  Already have most of the fabric for that one - 
doing another set of artwork re-creations.

Should keep us out of trouble for two-thirds of the year.

Sandy

>From: Sue Clemenger <mooncat@in-tch.com>
>
>While I bet a whole lot of us are caught up in the holidays and "life"
>requirements (I know I am!), I betcha we've also got projects planned
>for the new year.
>So...what are we all going to be doing?

"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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Status: RO

You could probably also ask her directly.  I know she's on SCA-Weaving
(she just kindly answered a question of mine), and, IIRC, her email addy
is featured in a number of places on her web documents.
--sue

Catherine Olanich Raymond wrote:
> 

> 3.  Get some tablets and tablet weave yourself a pair, if you can find the
> time and like tablet weaving.  Carolyn Priest-Dorman did a really neat pair
> for a friend in silk, which bears an inscription based on a quote from the
> Coverdale Bible (1535), which would be period for your costume.  She gives no
> directions, but you may find the picture inspiring at least:
> 
> http://www.cs.vassar.edu/~capriest/garters.html
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On Thursday 11 December 2003 11:56 am, IceGirlNIN@aol.com wrote:
> I'll bite as well...perhaps then I'll get things done, yes?  (Hopefully?)

Doesn't always work for me, but your mileage may vary.  :-)
[snip]

> - Linen (woven) stockings for the gown.  Still thinking up what to use for
> garters, probably just ties since they certainly weren't at all like modern
> garters <g>

True.  I have three options for you to consider for garters, though:

1. Buy wool twill tape and cut lengths to suitable size.  Wooded Hamlet 
Designs, www.woodedhamlet.com sells the stuff.  Their 100% worsted twill tape 
comes in a variety of colors and widths; the widest, 7/8ths of an inch, costs 
only $2.00 per yard, which is probably enough for a pair of garters (but if 
not, you can easily buy another yard).  :-)

2. Buy a pair of garters.  I know offhand of two companies on the web that 
sell them:

Historic Enterprises:  http://www.historicenterprises.com/

Historic Enterprises' model costs $8.00 for plain strips of what looks like 
woven twill tape in red or black.  If you pay $20.00, you can get them with 
replica 15c buckles, but you said you want this for an Elizabethan so 15c 
buckles wouldn't be appropriate. They're 7/8th of an inch wide.  


Revival Clothing:  http://www.revivalclothing.com/

Revival Clothing sells tie garters of a "woven design that has the look and 
depth of embroidery".  I don't know what that means.  They only say theirs 
are 27 inches long, and don't give the width, but from the picture showing 
one on a leg I'd bet they're about the same width as the others.  They charge 
$10.95 for a pair.

3.  Get some tablets and tablet weave yourself a pair, if you can find the 
time and like tablet weaving.  Carolyn Priest-Dorman did a really neat pair 
for a friend in silk, which bears an inscription based on a quote from the 
Coverdale Bible (1535), which would be period for your costume.  She gives no 
directions, but you may find the picture inspiring at least:

http://www.cs.vassar.edu/~capriest/garters.html

If it were me, I'd buy a yard of wool twill tape from Wooded Hamlet and use 
that.  No effort, cheap, and a period material to boot.  But as I said above, 
everyone's mileage varies....

Good luck with your projects!



-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Try Tucakahoe Traders for accessories. They carry meticulously researched and 
crafted Ceramics and glassware.

<A HREF="http://www.tuckahoetradingco.com/about.html">http://www.tuckahoetradingco.com/about.html</A>

Also The Practical Goose has terrific stuff of all sorts. I don't know if 
they have a web site, but Mike Tartaglio's wife, Leigh, runs it and he is on this 
list.

Sykes will carry shoes when they can get them. The best source is Sarah 
Juniper in England, but they're not cheap.

Hope that helps.

Kathleen


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Hey, I didn't think of it from that angle! So...what projects have folks
actually *finished* this past year? I finished the second sleeve for my
blackwork shift, and made two eastern-viking outfits (shift, gown, and
apron-gown) for a friend who was stepping down as baroness (sca
reference).  Oh, and loads of gift-baskets for some royalty (another sca
reference, sorry)  And I've finished hand-spinning a number of skeins of
yarn for holiday gifts for a couple of friends (I'll be dyeing one half
pale yellow for one friend, and logwood-ish purple on the other half for
the other friend).  But that's about it! <g>
--sue, with lots of "eternally unfinished sh... uh, stuff"

Catherine Olanich Raymond wrote:
> 

> And what have I actually managed to make this year? (In case anybody cares)
> 
> --White silk salwar, based on an historic pattern from the "Renaissance
> Tailor" site.
> 
> --A drawstring skirt, to wear with a sari when I get one (the fabric comes
> with mirrors sewn on in a plausible imitation of Indian embroidery technique,
> which is why couldn't pass it up.
> 
> --A matching choli, based on another web site pattern (which has been baffling
> me for a couple of years, but I think I've managed to find a way to make it
> fit well enough to wear it, and I expect to finish it by year's end).
> 
> I also have a pattern, fabric, and materials for an 1840's ball gown, which I
> meant to make for a live action game in 2002 and never finished, but the
> fabric and lace I bought are so beautiful I still mean to make it someday,
> especially as I already have underpinnings I can use with it....
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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On Friday 12 December 2003 12:44 am, Sue Clemenger wrote:
> You could probably also ask her directly.  I know she's on SCA-Weaving
> (she just kindly answered a question of mine), and, IIRC, her email addy
> is featured in a number of places on her web documents.
>
Good point. Thanks.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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At 08:07 AM 12/11/2003 -0800, you wrote:
>I have the Folkwear dirndl pattern, and I think I may make it up just to see
>how it looks.  The only thing about it that strikes me kind of funny is the
>fact that there is kind of a weird gusset in the breast area of the lower
>cut bodice and I'm wondering if that is really a necessary piece, or could
>it be left out? Is it for shaping?


Oh, I liked that shaping that the gusset gave me. The Folkwear dirndle 
pattern was the first bodice I ever made for faire, and I loved it. The 
gusset gave me just the right amount of shaping for my C cup breasts, and 
it didn't give that shelf or TOAP look everyone hates, including me.

I gotta find my old pattern and make another one, just because it was so 
comfy. I was never sure if the gusset was period, which I doubt, but it was 
comfy and nice looking and that is so worth it for me.

Kimiko


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

Graphic Intern at Costume Gallery
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Subject: Re: [h-cost] Another new topic
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At 11:20 AM 12/11/2003 -0500, you wrote:
>He has an eye on Boromir's outfit in the first
>part of the Fellowship, but he's short (not even 5'5) and chubby, so I will
>never make him something as long as Boromir's vest.


Hmmm... why not? long vests make chubby people look longer and a little 
leaner. And the embroidery on the short sleeves is very nice. But then I am 
making a fantasy costume for me with that same outfit for inspiration, and 
I am a little taller and definitely chubby. But then the character for the 
costume is a troll knight, so ... even as a female I think that would 
work... ah, I am rambling this late at night.

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 03:43 PM 12/11/2003 -0800, you wrote:
>And the website:
>
>http://groups.yahoo.com/i?i=5VxhhM7Ge_TPWIrRT93o8o-mk-8&e=Kayta%40FunStuft%2Ecom
>
>(but you have to do the Yahoo thing to read stuff on it)
>
>        CarolynKayta Barrows


Hiya CarolynKayta,

Is there another web link you could send for more info? The time limit on 
the invite died, and I have a friend who is into privateering stuff who 
lives in the Bay, and I wanted to send him the info in case he was 
interested. I don't know when he would view the link, because he is in 
school with finals right now.

Thanks!

Kimiko



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

Graphic Intern at Costume Gallery
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Thanks all for the info on red headed barbie dolls, and costuming bears. I 
think I saw pregnant Midge at Toys R Us, but pregnant is not going to be 
useful for a corseted style I was hoping for.

And the bears reminded me of a friend who would just love a costumed bear.

Thanks all again!

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 04:05 PM 12/10/2003 -0800, you wrote:
>Yup, it's all over French and Italian portraits too, once you start 
>looking. For example, look for the Jean Clouet portrait of Francis I  at: 
>http://gallery.euroweb.hu/art/c/clouet/jean/francois.jpg
>
>The white strips on his sleeves and chest clearly have couched interlaced 
>cord trimming.
>
>I have a very simple pattern of interlacing in black on my burgundy Court 
>gown, and every so often someone will come up and compliment me on the 
>"Celtic interlace" trim. I just smile sweetly and say "Thank you!"
><g>


Hi Chris,

yeah, I have a simple interlaced pattern on my skirts that I took from an 
English pattern, and people ask about the Celtic knot all the time. I just 
didn't expect it in German patterns, and so very recognizably "Celtic" in 
styling! My husband loves the idea of wearing the interlaced pattern for 
his nobles, and I have gold and silver cording to do them in. Just got to 
find the time to work on it.

And thanks for the link to Francois. I had only found a small image of him 
before, so getting to see the image in big scale is very nice. The plan for 
my husband's outfit is in some ways similar to this style, so it just gave 
me even more ideas to juggle in my mind before committing to a final draft.

Kimiko



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

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

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Subject: Re: [h-cost] Another new topic
Date: Fri, 12 Dec 2003 21:48:24 +1300
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 > While I bet a whole lot of us are caught up in the holidays and "life"
 > requirements (I know I am!), I betcha we've also got projects planned
 > for the new year.
 > So...what are we all going to be doing?

Ehehehe.. what a silly question to ask a fanatical band as the h-costers;)

Floods of email jammed my mail box today;) Now I know who to blame...
anyway, it's all fun to read what others are doing:)

First job is to cut the lining and sew my yellow gown from the early 16thC
found all over the place, but mostly the Lowlands and in parts of "Germany"
and further north.
http://costumes.glittersweet.com/sca/yellowflemish.htm

The fabric body is cut and I had a horrible experience witht he lining...
but I have two new queen size pure cotton sheets and they will be wonderful
as the lining:) I hope there is enough for the sleeves;) But if not then I
get to be creative with finding a suitable lining.

Then I am looking at a pink cotton velvet dress based on an Anne of Denmark
portrait and a pink sateen dress based on on a couple of dresses worn in
Nurnberg over a few decades.. or Jost Amman made prints of women from 20
years before, which is quite feasible.

Then a black velvet gown like the one Elizabeth de Valois wore (and several
other portraits of Spanish court ladies in terms of very severe black with
minimal trim.. possibly they were all in mourning;) )

And come what may for others:)

But those are the definites...

Oh yes, and a turquoise and pumpkin orange kampfrau inspired dress;) It'll
be an evil dress for sure but fun;)

michaela
http://costumes.glittersweet.com


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From h-costume-bounces@indra.com  Fri Dec 12 08:14:50 2003
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Date: Fri, 12 Dec 2003 13:13:57 +0000 (GMT)
From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
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Subject: [h-cost] Re: current and future projects
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Having just completed my first set of exmas last week, and rebuilt my computer (twice!) I am
looking forward to a christmas of sewing and embroidering.

On the plans are:
1. Finish off embroidered replica of the man shirt 1580 (Museum of Costume, Bath).
2. Finish a chocolate brown doublet for myself (1575-1585).
3. Buy fabric, dye and sew a russet cartridge pleated shirt to go with the doublet.
4. Plan & start embroidery to go on collar and skirts of the doublet, silver and silk embroidery
on a black silk satin ground.
5. Plan and start embroidery for a guard round the skirt.
6. Remortgage the house so I can afford an Elizabethan wig!  
7. Draw up sketched for embroidery on a pair of gloves for the Globe.
8. Blackwork embroidered sleeves, on silk twill.
9. Collapse in a heap!

Rachel

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From h-costume-bounces@indra.com  Fri Dec 12 08:17:51 2003
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
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Subject: [h-cost] Elizabethan wigs
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As I have fairly short hair and am wanting to go a little higher up the Elizabethan social scale
this year I am going to be in need of a wig.

Now I would like this to be as accurate as possible.  Having just got a quote from Derek Easton,
who made Nicoles I think, for a real hair wig of £4000-5000, I need to identify something a little
cheaper. 

Does anyone have any suggestions or has done any research on this before I hit the library?  Was
horsehair used in the sixteenth century for wigs?

Thanks for any help,

Rachel

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From h-costume-bounces@indra.com  Fri Dec 12 08:19:44 2003
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Subject: Re: [h-cost] Another new topic
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Hmmm...
Black lace evening gown, embellished with beaded and sequin trim, circa
1898, based on a gown (Not my size) from my collection.
Blue chintz English gown, 18th C
Various Curacaos 18th C\Gents 18th C suit of black silk and velvet
French gown, 1750's in indian fabric
Ladies hunt coat, 18th C
Gent's hunt coat, 18thC
Kings costumes for "Amahl"
Two gent's 19th C frock coats, gigunda size
1950's bridal gown restoration
Dressed Q Elizabeth doll in her "first" costume; porcelain doll made in 2001
And Misc. assessories for most of the above

Guess I can see why I felt so driven this past year. I have also been trying
to cut my business down by reducing inventory via donation to the local
college and auction house.
Next year I want to finish and costume my collection of various dolls in
period costume, that I have been collecting for the past 30 years!
Kathleen
Dressed Q Eleanor in her costume (recycled flea market doll)
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 12, 2003 1:11 AM
Subject: Re: [h-cost] Another new topic


> Hey, I didn't think of it from that angle! So...what projects have folks
> actually *finished* this past year? I finished the second sleeve for my
> blackwork shift, and made two eastern-viking outfits (shift, gown, and
> apron-gown) for a friend who was stepping down as baroness (sca
> reference).  Oh, and loads of gift-baskets for some royalty (another sca
> reference, sorry)  And I've finished hand-spinning a number of skeins of
> yarn for holiday gifts for a couple of friends (I'll be dyeing one half
> pale yellow for one friend, and logwood-ish purple on the other half for
> the other friend).  But that's about it! <g>
> --sue, with lots of "eternally unfinished sh... uh, stuff"
>
> Catherine Olanich Raymond wrote:
> >
>
> > And what have I actually managed to make this year? (In case anybody
cares)
> >
> > --White silk salwar, based on an historic pattern from the "Renaissance
> > Tailor" site.
> >
> > --A drawstring skirt, to wear with a sari when I get one (the fabric
comes
> > with mirrors sewn on in a plausible imitation of Indian embroidery
technique,
> > which is why couldn't pass it up.
> >
> > --A matching choli, based on another web site pattern (which has been
baffling
> > me for a couple of years, but I think I've managed to find a way to make
it
> > fit well enough to wear it, and I expect to finish it by year's end).
> >
> > I also have a pattern, fabric, and materials for an 1840's ball gown,
which I
> > meant to make for a live action game in 2002 and never finished, but the
> > fabric and lace I bought are so beautiful I still mean to make it
someday,
> > especially as I already have underpinnings I can use with it....
> _______________________________________________
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>

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From h-costume-bounces@indra.com  Fri Dec 12 09:01:18 2003
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I read your web address and thought you were in California. Baroque is my husbands favorite time period (unfortunately the other reinactment group we play with stops @1600) We hope to be transferred to san diego shortly and I thought whoopee! After some reading I realized the ca was for canada,lol. who would have thought? ;-)
Have a fantastic friday! Angelique


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Subject: Re: [h-cost] Elizabethan wigs
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On Fri, 12 Dec 2003 13:17:09 +0000 (GMT) =?iso-8859-1?q?Rachel?=
<rachel_holliday@yahoo.co.uk> writes:
> As I have fairly short hair and am wanting to go a little higher up 
> the Elizabethan social scale this year I am going to be in need of a
wig.

How short is short? I have found that a jeweled/embroidered caul and a
tall hat hide a multitude of non-period hair sins. 

 
> Now I would like this to be as accurate as possible.  Having just 
> got a quote from Derek Easton,
> who made Nicoles I think, for a real hair wig of £4000-5000, I need 
> to identify something a little cheaper. 

Hang on while I pick my teeth up off the ground......okay, they're back.
Good heavens, you can get human hair wigs for much less than that in the
States!  Then take it to a hair dresser who works with wigs and have them
style it to suit you. Total cost should only be a couple hundred dollars
American. 
 
Karen

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References: <Sea2-F450RITvtk4US800019cc9@hotmail.com>
Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths
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Status: RO

WOW! After it was mentioned on this page, I searched the internet for it to
see what it looked like and it was being sold for $230.
----- Original Message ----- 
From: "Sharmah Wardlaw-Otwell" <sharmah64@hotmail.com>
To: <h-costume@indra.com>
Sent: Thursday, December 11, 2003 9:36 PM
Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths


> Hi,
>
> I actually went to FAO Schwarz to find the India Barbie at first,they
didn't
> have it and I "accidentally" found it in a Wal-Mart way out in the
> suburbs-like 30 miles away from my home and since it was only like $19,I
got
> two!
>
>
> Sharmah
>
> _________________________________________________________________
> Our best dial-up offer is back.  Get MSN Dial-up Internet Service for 6
> months @ $9.95/month now! http://join.msn.com/?page=dept/dialup
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>

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	Fri, 12 Dec 2003 14:21:35 GMT
Date: Fri, 12 Dec 2003 14:21:35 +0000 (GMT)
From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] Elizabethan wigs
To: Historical Costume <h-costume@indra.com>
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Status: RO

 --- seamstrix@juno.com wrote: > 
> How short is short? I have found that a jeweled/embroidered caul and a
> tall hat hide a multitude of non-period hair sins. 

Well it is just below my ears and curly, which makes it practically impossible to keep it in one
place for any length of time, except when I wear a coif which covers everything.  The other
problem with your suggestion is that as my group is seriously dedicated to authenticity a jewelled
caul would be equally expensive!
 

> Hang on while I pick my teeth up off the ground......okay, they're back.
> Good heavens, you can get human hair wigs for much less than that in the
> States!  Then take it to a hair dresser who works with wigs and have them
> style it to suit you. Total cost should only be a couple hundred dollars
> American. 

This would be fitted to my head and styled appropriately for the period.  Which is what I really
need.  However I am willing to entertain any suggestions.  Do you have any details of a company I
could look at?

Thanks

Rachel

=====
Threads of History
www.threadsofhistory.co.uk

________________________________________________________________________
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Subject: Re: [h-cost] Elizabethan wigs
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On Fri, 12 Dec 2003 14:21:35 +0000 (GMT) =?iso-8859-1?q?Rachel?=
<rachel_holliday@yahoo.co.uk> writes:
> Well it is just below my ears and curly, which makes it practically 
> impossible to keep it in one
> place for any length of time, except when I wear a coif which covers 
> everything.  The other
> problem with your suggestion is that as my group is seriously 
> dedicated to authenticity a jewelled
> caul would be equally expensive!
  
Well, then you could go with a very elegant black worked caul with
paillettes (period spangles), it doesn't have to be jewel jeweled.

 
 
> This would be fitted to my head and styled appropriately for the 
> period.  Which is what I really
> need.  However I am willing to entertain any suggestions.  Do you 
> have any details of a company I could look at?

I'm not completely familiar with resources in England, but, going by what
I know of in this country, you can get a human hair wig that comes just
below your shoulders for about 200USD. Then go to any good hairdresser
with a picture of what you want the wig to look like at the end, discuss
the methods, and let the hairdresser go to it. That might add another
100USD depending on what they would charge for the time. Is your head an
odd size or shape that you'd need a wig made especially to fit? 

They also used 'artificial' hair to augment their own when they didn't
have enough for a particular style, so you could find a human hair 'fall'
that matches yours pretty well, and have that done up in a period style
for behind (although as far as I know the hair was done up in a braid or
bun sort of thing, so not too complicated). One style that Queen Bess
seems to like was done with masses of curls around the face (unknown
back) so you could get a good curling iron and some hair pins and
practice curling the front of your hair up while having a fake braid/bun
on the back to give the illusion of longer hair. Of course you will be
putting some sort of head covering on it anyway as no respectible woman
went out without some sort of hat, so consider the hat style when you are
designing the hair style.


Karen

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th c. interlaced embroidery patterns
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Status: RO

Ah, but if it was perceived as originating there, the appellation would
be appropriate--like Egyptian Cotton, or Canada Geese, or Russian
Thistle.
I love monochrome embroidery and its cousins where ever it shows up,
though!
--maire, who started making costumes so she'd have somewhere to *put*
the embroidery!

Grace Morris wrote:
> 
> Curiously, where you DON'T see _as much_ is in Spain...so much for
> "Spanish Work"....
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>  Sounds wonderful! My family does rapier re-enactment with the SCA. If we're in Ottawa, I'd love to visit. *shameless plug*Check out my site, I do 16th and 17th century clothes and toys for men and children. Cheers Wendywww.hecate.ca/emma/  

Yes, I also fence in the SCA :)  I've attached my SCA sigfile so you can
see my Elizabethan website.  Your website is lovely, I really like the
casque on the mens costume page.

K.

-- 
Goodwife Katherine Rowberd (mka Kirrily "Skud" Robert)
katherine@elizabethangeek.com  http://elizabethangeek.com/
Caldrithig, Skraeling Althing, Ealdormere
"The rose is red, the leaves are grene, God save Elizabeth our Queene"
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----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
> At 11:20 AM 12/11/2003 -0500, you wrote:
> >He has an eye on Boromir's outfit in the first
> >part of the Fellowship, but he's short (not even 5'5) and chubby, so I
will
> >never make him something as long as Boromir's vest.
>
>
> Hmmm... why not? long vests make chubby people look longer and a little >
leaner.

Maybe, but it makes short people look even shorter. We'll try different
things, though. I'm just afraid if I make it too long it'll look like he has
no legs.

> And the embroidery on the short sleeves is very nice.

I'd probably use a saree, if we decided to do that.

> But then I am
> making a fantasy costume for me with that same outfit for inspiration, and
> I am a little taller and definitely chubby. But then the character for the
> costume is a troll knight, so ...

A... troll knight? Wow, that definitely goes same way as the sophisticated
barbarian my friend wants :-)
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> Then a black velvet gown like the one Elizabeth de Valois wore (and
several
> other portraits of Spanish court ladies in terms of very severe black with
> minimal trim.. possibly they were all in mourning;) )

I think black was just very, very popular. I've found references in
literature to black worn for mourning, but I don't think we can say that
they were mourning *because* they wore black. In fact, if you look at
paintings from Italy and Spain at that time, all they seem to wear a LOT of
black, then SOME colours in the range red-pink, some yellow, and not much
else, even if they do exist in other colours.
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From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Elizabethan wigs
Date: Fri, 12 Dec 2003 10:03:41 -0600
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Pearls are(were?) also very "in" for decorating cauls, hats doublets
etc, and freshwater "rice" or "potato" shaped pearls can be had for
anywhere from 2-20$ per 16" string. We were just discussing this on my
Jewelry group. One vendor had an offer of 100 strings for 100$ various
colors and sizes, but it bears investigating! If you want really round
or Saltwater pearls, expect to pay much more...
Hoping to help- Betsy

PS>There were also a lot of period ways to fake gems too! In fact I
recall mention of a method of faking pearls which involved glass beads,
glue, and ground fish scales..

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Rachel
Sent: Friday, December 12, 2003 8:22 AM
To: Historical Costume
Subject: Re: [h-cost] Elizabethan wigs

 --- seamstrix@juno.com wrote: > 
> How short is short? I have found that a jeweled/embroidered caul and a
> tall hat hide a multitude of non-period hair sins. 

Well it is just below my ears and curly, which makes it practically
impossible to keep it in one
place for any length of time, except when I wear a coif which covers
everything.  The other
problem with your suggestion is that as my group is seriously dedicated
to authenticity a jewelled
caul would be equally expensive!
 


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Didn't black become the color for mourning clothes in a later century?
----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 12, 2003 10:59 AM
Subject: Black was: Re: [h-cost] Another new topic


> > Then a black velvet gown like the one Elizabeth de Valois wore (and
> several
> > other portraits of Spanish court ladies in terms of very severe black
with
> > minimal trim.. possibly they were all in mourning;) )
>
> I think black was just very, very popular. I've found references in
> literature to black worn for mourning, but I don't think we can say that
> they were mourning *because* they wore black. In fact, if you look at
> paintings from Italy and Spain at that time, all they seem to wear a LOT
of
> black, then SOME colours in the range red-pink, some yellow, and not much
> else, even if they do exist in other colours.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Actually been looking into this recently...

         Black for mourning -  I've documented it back to the 13th 
century,  in Western Europe and Britain.  Still looking for earlier 
sources...  interested in how long those roots go.

Mari


>Didn't black become the color for mourning clothes in a later century?

Mari Stewart
Cornell University


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Subject: Re: [h-cost] Elizabethan wigs
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I don't know about Elizabethan, but have you tried a bag-style cap?
They're built on a rigid frame that hugs the ears and then have a bag for
the hair. And you can decorate them however you want. I have one for my
Italians--had it made when my hair was about the same length as yours,
and it worked great.

Arlys

On Fri, 12 Dec 2003 13:17:09 +0000 (GMT) =?iso-8859-1?q?Rachel?=
<rachel_holliday@yahoo.co.uk> writes:
> As I have fairly short hair and am wanting to go a little higher up 
> the Elizabethan social scale
> this year I am going to be in need of a wig.


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In a message dated 12/12/2003 5:16:36 AM Pacific Standard Time, 
rachel_holliday@yahoo.co.uk writes:
6. Remortgage the house so I can afford an Elizabethan wig!

http://www.wig.dom/
http://www.bestwigoutlet.com/
http://www.acewigs.com/
http://www.wilshirewigs.com

Just to start you off.

Laura, 
Choreographer; Property Master
http://www.guildofstaugustine.org
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> Thanks all for the info on red headed barbie dolls, and costuming
> bears. I think I saw pregnant Midge at Toys R Us, but pregnant is not
> going to be useful for a corseted style I was hoping for.

The head might be "interchangeable." I haven't worked with any recent 
Barbies, but they used to be that way in the past.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] union suit
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A friend of mine is looking for a men's drop-bottom union suits - I 
haven't seen them, but I figured someone on this list might know where 
to get some.  Any suggestions?

Thank you!

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Actually been looking into this recently...

         Black for mourning -  I've documented it back to the 13th
century,  in Western Europe and Britain.  Still looking for earlier
sources...  interested in how long those roots go.

Black was definately standard by the mid 16th century. However, the mordant
used for black wasn't cheap and then as now, wearing black didn't
necessarily signal one was in mourning. So mourning and wearing black(other
than an armband or hat ribbon) and then all the rules and regulations were
for those that could afford it. The well-to-do could afford new fabric and
clothing; those that couldn't resorted to what they had, the dye tub, or
just wearing the darkest colors they had, especially in the case of an
unexpected family death, before they could get the proper mourning wear.

The Gallery of Fashion(1794-1804)shows several fashionable examples of
mourning and half-mourning for women, and Jane Austen's letters do mention
having to wear mourning for family and friends, even royalty(and the
constant making-do and worry as to what would make-do for mourning for the
budget-restricted, like Austen).

The Industrial Revolution made both black fabric for mourning cheaper for
all and the etiquette more widespread and rules and regs possible. Prince
Albert's death really gave the impetus to the mourning industry in England
and the United States, especially for those widows who could afford to buy
all the fabrics and have them made up into the "proper" wear over the year
plus of wearing mourning.  And then there were all the proper accessories
from head to toe for each stage of mourning for the widow, all the
family(which could be very extended the higher up the socio-economic scale
one was), the servants and even the residence--the wealthy could even
redecorate to proper mourning as the rules and regs extended that far for
those who cared to invoke them. In the 19th century well into the 20th, the
mourning industry was bigger than the bridal industry in terms of being in
the public eye.

Cindy Abel



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Thought I would share this...

Late 1800's Fashion book I ran accross on Ebay...

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=615&item=3571528037

Linda T

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You might try some of the Amish dry goods sites, like Gohn Bros.
Kathleen
----- Original Message ----- 
From: "Heather Meadows" <alice@wonderland.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 12, 2003 12:16 PM
Subject: [h-cost] union suit


> A friend of mine is looking for a men's drop-bottom union suits - I 
> haven't seen them, but I figured someone on this list might know where 
> to get some.  Any suggestions?
> 
> Thank you!
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] union suit
Date: Fri, 12 Dec 2003 09:37:17 -0800
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Nevermind... we found some.  Thanks.

On Dec 12, 2003, at 9:16 AM, Heather Meadows wrote:

> A friend of mine is looking for a men's drop-bottom union suits - I 
> haven't seen them, but I figured someone on this list might know where 
> to get some.  Any suggestions?
>
> Thank you!
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: Black was: Re: [h-cost] Another new topic
Date: Fri, 12 Dec 2003 12:50:47 -0500
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In "Seeing Through Clothes" by Anne Hollander, (pub. 1970s?) a couple of
chapters are devoted to the history of black as a color of fashion.  The
Bibliography should give some of her sources.
Kathleen
----- Original Message ----- 
From: "M Stewart" <ms154@cornell.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 12, 2003 11:35 AM
Subject: Re: Black was: Re: [h-cost] Another new topic


>
> Actually been looking into this recently...
>
>          Black for mourning -  I've documented it back to the 13th
> century,  in Western Europe and Britain.  Still looking for earlier
> sources...  interested in how long those roots go.
>
> Mari
>
>
> >Didn't black become the color for mourning clothes in a later century?
>
> Mari Stewart
> Cornell University
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
References: <000b01c3c0c9$834a4cf0$02b00040@softwareinnovation.com>
Subject: Re: [h-cost] Elizabethan wigs
Date: Fri, 12 Dec 2003 13:35:09 -0500
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I found a guy in Bejing who sells potato pearls on ebay. Very nice quality!!
I can't remember exactly, but I want to say we paid $3 a strand. And they
came in this cool chinese pouch.

Teena
----- Original Message ----- 
From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Friday, December 12, 2003 11:03 AM
Subject: RE: [h-cost] Elizabethan wigs


> Pearls are(were?) also very "in" for decorating cauls, hats doublets
> etc, and freshwater "rice" or "potato" shaped pearls can be had for
> anywhere from 2-20$ per 16" string. We were just discussing this on my
> Jewelry group. One vendor had an offer of 100 strings for 100$ various
> colors and sizes, but it bears investigating! If you want really round
> or Saltwater pearls, expect to pay much more...
> Hoping to help- Betsy
>
> PS>There were also a lot of period ways to fake gems too! In fact I
> recall mention of a method of faking pearls which involved glass beads,
> glue, and ground fish scales..
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Rachel
> Sent: Friday, December 12, 2003 8:22 AM
> To: Historical Costume
> Subject: Re: [h-cost] Elizabethan wigs
>
>  --- seamstrix@juno.com wrote: >
> > How short is short? I have found that a jeweled/embroidered caul and a
> > tall hat hide a multitude of non-period hair sins.
>
> Well it is just below my ears and curly, which makes it practically
> impossible to keep it in one
> place for any length of time, except when I wear a coif which covers
> everything.  The other
> problem with your suggestion is that as my group is seriously dedicated
> to authenticity a jewelled
> caul would be equally expensive!
>
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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>

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Subject: Re: Black was: Re: [h-cost] Another new topic
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Very cool. Are you going to share with us when you are finished? :)
----- Original Message ----- 
From: "M Stewart" <ms154@cornell.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 12, 2003 11:35 AM
Subject: Re: Black was: Re: [h-cost] Another new topic


> 
> Actually been looking into this recently...
> 
>          Black for mourning -  I've documented it back to the 13th 
> century,  in Western Europe and Britain.  Still looking for earlier 
> sources...  interested in how long those roots go.
> 
> Mari
> 
> 
> >Didn't black become the color for mourning clothes in a later century?
> 
> Mari Stewart
> Cornell University
> 
> 
> _______________________________________________
> 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] union suit
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
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Speaking of which ....

Those overalls that the women wore during the war era, the real pretty
ones that only had a bib like thing from the waist to the breast and
nothing in back, what are those called?

Where can I get a pattern for one?

Chiara


Heather Meadows said:
> Nevermind... we found some.  Thanks.
>
> On Dec 12, 2003, at 9:16 AM, Heather Meadows wrote:
>
>> A friend of mine is looking for a men's drop-bottom union suits - I
>> haven't seen them, but I figured someone on this list might know where
>>  to get some.  Any suggestions?
>>
>> Thank you!
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
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Ches


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Date: Fri, 12 Dec 2003 11:22:54 -0800
Subject: Re: [h-cost] union suit
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Didn't Folkwear have a pattern for that?

LynnD

On 12/12/03 10:13 AM, "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
wrote:

> Speaking of which ....
> 
> Those overalls that the women wore during the war era, the real pretty
> ones that only had a bib like thing from the waist to the breast and
> nothing in back, what are those called?
> 
> Where can I get a pattern for one?
> 
> Chiara
> 
> 
> Heather Meadows said:
>> Nevermind... we found some.  Thanks.
>> 
>> On Dec 12, 2003, at 9:16 AM, Heather Meadows wrote:
>> 
>>> A friend of mine is looking for a men's drop-bottom union suits - I
>>> haven't seen them, but I figured someone on this list might know where
>>>  to get some.  Any suggestions?
>>> 
>>> Thank you!
>>> 
>>> _______________________________________________
>>> 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
> 
> 
> 
> Ches
> 
> 
> _______________________________________________
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Date: Fri, 12 Dec 2003 11:30:14 -0800
Subject: Re: [h-cost] Elizabethan wigs
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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A few years ago I went to one of those traveling bead shows or fairs - it
was at the San Mateo (Calif) convention center or some such place. I was
able to snag 33 strands (16") of rice pearls for 50 cents a strand because I
bought the whole bunch. You should have seen my Elizabethan court outfit
that year. Granted, not all the pearls were good enough to use, but I
probably lost the equivalent to one strand in the 20 strands I used for the
outfit. The others I've been using for jewelry, Christmas ornaments, etc. It
was a great purchase. I know that we have one company that puts these shows
on up and down the coast; they hit the S.F. Bay area in March and September
and are, I think, in L.A. in May and November. Check the bead stores in your
area for info, or look in the beading magazines, especially Beads & Buttons.

LynnD

On 12/12/03 10:35 AM, "Teena Paradise" <bkessinger@ureach.com> wrote:

> I found a guy in Bejing who sells potato pearls on ebay. Very nice quality!!
> I can't remember exactly, but I want to say we paid $3 a strand. And they
> came in this cool chinese pouch.
> 
> Teena
> ----- Original Message -----
> From: "Betsy Marshall" <betsy@softwareinnovation.com>
> To: "'Historical Costume'" <h-costume@indra.com>
> Sent: Friday, December 12, 2003 11:03 AM
> Subject: RE: [h-cost] Elizabethan wigs
> 
> 
>> Pearls are(were?) also very "in" for decorating cauls, hats doublets
>> etc, and freshwater "rice" or "potato" shaped pearls can be had for
>> anywhere from 2-20$ per 16" string. We were just discussing this on my
>> Jewelry group. One vendor had an offer of 100 strings for 100$ various
>> colors and sizes, but it bears investigating! If you want really round
>> or Saltwater pearls, expect to pay much more...
>> Hoping to help- Betsy
>> 
>> PS>There were also a lot of period ways to fake gems too! In fact I
>> recall mention of a method of faking pearls which involved glass beads,
>> glue, and ground fish scales..
>> 
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
>> On Behalf Of Rachel
>> Sent: Friday, December 12, 2003 8:22 AM
>> To: Historical Costume
>> Subject: Re: [h-cost] Elizabethan wigs
>> 
>>  --- seamstrix@juno.com wrote: >
>>> How short is short? I have found that a jeweled/embroidered caul and a
>>> tall hat hide a multitude of non-period hair sins.
>> 
>> Well it is just below my ears and curly, which makes it practically
>> impossible to keep it in one
>> place for any length of time, except when I wear a coif which covers
>> everything.  The other
>> problem with your suggestion is that as my group is seriously dedicated
>> to authenticity a jewelled
>> caul would be equally expensive!
>> 

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Date: Fri, 12 Dec 2003 14:35:02 -0500
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: Black was: Re: [h-cost] Another new topic
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Oh, well...  <blush>  I'd love to.  Mari

>Very cool. Are you going to share with us when you are finished? :)
>----- Original Message -----
>From: "M Stewart" <ms154@cornell.edu>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Friday, December 12, 2003 11:35 AM
>Subject: Re: Black was: Re: [h-cost] Another new topic
>
>
> >
> > Actually been looking into this recently...
> >
> >          Black for mourning -  I've documented it back to the 13th
> > century,  in Western Europe and Britain.  Still looking for earlier
> > sources...  interested in how long those roots go.
> >
> > Mari
> >
> >
> > >Didn't black become the color for mourning clothes in a later century?
> >
> > Mari Stewart
> > Cornell University
> >
> >
> > _______________________________________________
> > 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 Dec 12 14:37:33 2003
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> Didn't black become the color for mourning clothes in a later century?

Actually, you might be right, I know I read two references to black as a
mourning color in my literature course, but there's one I can't remember
where I saw it. I also thought that it was in later centuries. However, in
Dr Faustus by Marlowe, published in 1604, there is the following (last act,
last scene)

> We'll give his mangled limbs due burial,
> And all the students clothed in mourning black
> Shall wait upon his heavy funeral.

I think we have to make the difference that maybe il later centuries you
would never wear black unless you were in mourning, and in other centuries
you would also wear black when you were not in mourning. But this is highly
speculative.
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From: "Teena Paradise" <bkessinger@ureach.com>
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Subject: Re: [h-cost] Elizabethan wigs
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The bead show is here in Atlanta this weekend. You can bet I am going to try
and finagle one of these deals! :)
----- Original Message ----- 
From: "Lynn Downward" <LDownward@chori.org>
To: "h costume" <h-costume@indra.com>
Sent: Friday, December 12, 2003 2:30 PM
Subject: Re: [h-cost] Elizabethan wigs


> A few years ago I went to one of those traveling bead shows or fairs - it
> was at the San Mateo (Calif) convention center or some such place. I was
> able to snag 33 strands (16") of rice pearls for 50 cents a strand because
I
> bought the whole bunch. You should have seen my Elizabethan court outfit
> that year. Granted, not all the pearls were good enough to use, but I
> probably lost the equivalent to one strand in the 20 strands I used for
the
> outfit. The others I've been using for jewelry, Christmas ornaments, etc.
It
> was a great purchase. I know that we have one company that puts these
shows
> on up and down the coast; they hit the S.F. Bay area in March and
September
> and are, I think, in L.A. in May and November. Check the bead stores in
your
> area for info, or look in the beading magazines, especially Beads &
Buttons.
>
> LynnD
>
> On 12/12/03 10:35 AM, "Teena Paradise" <bkessinger@ureach.com> wrote:
>
> > I found a guy in Bejing who sells potato pearls on ebay. Very nice
quality!!
> > I can't remember exactly, but I want to say we paid $3 a strand. And
they
> > came in this cool chinese pouch.
> >
> > Teena
> > ----- Original Message -----
> > From: "Betsy Marshall" <betsy@softwareinnovation.com>
> > To: "'Historical Costume'" <h-costume@indra.com>
> > Sent: Friday, December 12, 2003 11:03 AM
> > Subject: RE: [h-cost] Elizabethan wigs
> >
> >
> >> Pearls are(were?) also very "in" for decorating cauls, hats doublets
> >> etc, and freshwater "rice" or "potato" shaped pearls can be had for
> >> anywhere from 2-20$ per 16" string. We were just discussing this on my
> >> Jewelry group. One vendor had an offer of 100 strings for 100$ various
> >> colors and sizes, but it bears investigating! If you want really round
> >> or Saltwater pearls, expect to pay much more...
> >> Hoping to help- Betsy
> >>
> >> PS>There were also a lot of period ways to fake gems too! In fact I
> >> recall mention of a method of faking pearls which involved glass beads,
> >> glue, and ground fish scales..
> >>
> >> -----Original Message-----
> >> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> >> On Behalf Of Rachel
> >> Sent: Friday, December 12, 2003 8:22 AM
> >> To: Historical Costume
> >> Subject: Re: [h-cost] Elizabethan wigs
> >>
> >>  --- seamstrix@juno.com wrote: >
> >>> How short is short? I have found that a jeweled/embroidered caul and a
> >>> tall hat hide a multitude of non-period hair sins.
> >>
> >> Well it is just below my ears and curly, which makes it practically
> >> impossible to keep it in one
> >> place for any length of time, except when I wear a coif which covers
> >> everything.  The other
> >> problem with your suggestion is that as my group is seriously dedicated
> >> to authenticity a jewelled
> >> caul would be equally expensive!
> >>
>
> _______________________________________________
> 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] Elizabethan wigs
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Rachel<rachel_holliday@yahoo.co.uk> wrote:
> 
> Well it is just below my ears and curly, which makes it practically impossible to keep it in one
> place for any length of time, except when I wear a coif which covers everything.  The other
> problem with your suggestion is that as my group is seriously dedicated to authenticity a jewelled
> caul would be equally expensive!

Why?  The elizabethans certainly used glass substitutes for more 
expensive stones.  It's easy enough here in the US to find glass
cabochons for not very much.  I'd suggest looking at bead shops
and places that sell jewelry making supplies.  Glass isn't as cheap
as plastic rhinestones, but it's certainly not going to be anywhere
near as expensive as a wig.  Glass "pearls" are also not that hard to
come by on this side of the pond.  I unfortunately don't know who the
good jewelry suppliers are in the UK.  Someone else will have to answer
that question.

And if your hair is long enough in the front, you can set your hair on
rollers to stick almost straight up and you'll have an elizabethan lady's
hairdo.  Having curly, unruly hair is actually an advantage at that point.

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: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <BBFF558E.D29%LDownward@chori.org>
Subject: Re: [h-cost] union suit
Date: Fri, 12 Dec 2003 16:18:14 -0500
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I too think there has been on from Folkwear..."Rosie the Riveter" coveralls.
Kathleen
----- Original Message ----- 
From: "Lynn Downward" <LDownward@chori.org>
To: "h costume" <h-costume@indra.com>
Sent: Friday, December 12, 2003 2:22 PM
Subject: Re: [h-cost] union suit


> Didn't Folkwear have a pattern for that?
>
> LynnD
>
> On 12/12/03 10:13 AM, "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
> wrote:
>
> > Speaking of which ....
> >
> > Those overalls that the women wore during the war era, the real pretty
> > ones that only had a bib like thing from the waist to the breast and
> > nothing in back, what are those called?
> >
> > Where can I get a pattern for one?
> >
> > Chiara
> >
> >
> > Heather Meadows said:
> >> Nevermind... we found some.  Thanks.
> >>
> >> On Dec 12, 2003, at 9:16 AM, Heather Meadows wrote:
> >>
> >>> A friend of mine is looking for a men's drop-bottom union suits - I
> >>> haven't seen them, but I figured someone on this list might know where
> >>>  to get some.  Any suggestions?
> >>>
> >>> Thank you!
> >>>
> >>> _______________________________________________
> >>> 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
> >
> >
> >
> > Ches
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
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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] Elizabethan wigs
Date: Fri, 12 Dec 2003 16:19:56 -0500
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And remember that 'Fire Mountain' often has these on sale in one form or the
other.
Kathleen
----- Original Message ----- 
From: "Lynn Downward" <LDownward@chori.org>
To: "h costume" <h-costume@indra.com>
Sent: Friday, December 12, 2003 2:30 PM
Subject: Re: [h-cost] Elizabethan wigs


> A few years ago I went to one of those traveling bead shows or fairs - it
> was at the San Mateo (Calif) convention center or some such place. I was
> able to snag 33 strands (16") of rice pearls for 50 cents a strand because
I
> bought the whole bunch. You should have seen my Elizabethan court outfit
> that year. Granted, not all the pearls were good enough to use, but I
> probably lost the equivalent to one strand in the 20 strands I used for
the
> outfit. The others I've been using for jewelry, Christmas ornaments, etc.
It
> was a great purchase. I know that we have one company that puts these
shows
> on up and down the coast; they hit the S.F. Bay area in March and
September
> and are, I think, in L.A. in May and November. Check the bead stores in
your
> area for info, or look in the beading magazines, especially Beads &
Buttons.
>
> LynnD
>
> On 12/12/03 10:35 AM, "Teena Paradise" <bkessinger@ureach.com> wrote:
>
> > I found a guy in Bejing who sells potato pearls on ebay. Very nice
quality!!
> > I can't remember exactly, but I want to say we paid $3 a strand. And
they
> > came in this cool chinese pouch.
> >
> > Teena
> > ----- Original Message -----
> > From: "Betsy Marshall" <betsy@softwareinnovation.com>
> > To: "'Historical Costume'" <h-costume@indra.com>
> > Sent: Friday, December 12, 2003 11:03 AM
> > Subject: RE: [h-cost] Elizabethan wigs
> >
> >
> >> Pearls are(were?) also very "in" for decorating cauls, hats doublets
> >> etc, and freshwater "rice" or "potato" shaped pearls can be had for
> >> anywhere from 2-20$ per 16" string. We were just discussing this on my
> >> Jewelry group. One vendor had an offer of 100 strings for 100$ various
> >> colors and sizes, but it bears investigating! If you want really round
> >> or Saltwater pearls, expect to pay much more...
> >> Hoping to help- Betsy
> >>
> >> PS>There were also a lot of period ways to fake gems too! In fact I
> >> recall mention of a method of faking pearls which involved glass beads,
> >> glue, and ground fish scales..
> >>
> >> -----Original Message-----
> >> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> >> On Behalf Of Rachel
> >> Sent: Friday, December 12, 2003 8:22 AM
> >> To: Historical Costume
> >> Subject: Re: [h-cost] Elizabethan wigs
> >>
> >>  --- seamstrix@juno.com wrote: >
> >>> How short is short? I have found that a jeweled/embroidered caul and a
> >>> tall hat hide a multitude of non-period hair sins.
> >>
> >> Well it is just below my ears and curly, which makes it practically
> >> impossible to keep it in one
> >> place for any length of time, except when I wear a coif which covers
> >> everything.  The other
> >> problem with your suggestion is that as my group is seriously dedicated
> >> to authenticity a jewelled
> >> caul would be equally expensive!
> >>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Fri Dec 12 17:23:41 2003
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Subject: [h-cost] drawn bonnet
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I'm resending as this appears to not have come through the first time - my apologies if it shows up twice.

The interior of bonnets are generally not lined or at most have about a 3" wide band of organdy tacked in place right where your trimmings stop. This is basically disposable, as it will absorb hair oils and can be easily replaced when soiled.
 When making the bonnet using canes, the last cane is right at the back opening, which leaves a gathered ring of fabric hanging down. You then "play" with the excess fabric until it looks pleasingly gathered or pleated and secure it at the base of the back - doesn't matter if it's on the inside or outside as this will be covered with the curtain or bravolet. Or as happened on the first one I made, there wasn't enough fabric left to reach the bottom, so I gathered all the fabric to the centre and secured it which gave an interesting look.
 You may want to try attaching a gathered piece of fabric right sides together on the back top and sides and then flip it over (right sides out) and then "play" with the arrangement. I wish I could show pictures of mine - it would make it much easier to try to explain.
 You've made a great start and have chosen a  very pretty colour. Do you have plans for your trimmings? If you have enough fabric, it's lovely to gather a piece over just a couple of canes and then tack that in place across the crown - it takes much less fabric than doing all the caning and is relatively low priced (and accurate) trimming.
 Hope this makes some sense and helps, it's very seldom that I can contribute any info to this group!
Kelly 
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Date: Fri, 12 Dec 2003 14:07:44 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: Black was: Re: [h-cost] Another new topic
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>         Black for mourning -  I've documented it back to the 13th 
> century,  in Western Europe and Britain.  Still looking for earlier 
> sources...  interested in how long those roots go.

OK, so some people wore black for mourning as early as the 13th century 
(and I do believe you when you say that you can document this).  But when 
did the idea that black necessarily meant mourning begin in Europe?  And 
did it mean that all over Europe, or just in some countries or circumstances?

In Spain, in the Renaissance, black seems very common for dresses and men's 
garments, as it does for the long robes for scholars and older men in the 
Germanies at the same time.  Did this necessarily indicate mourning?  Does 
the fact that most Catholic and Anglican priests wear black indicate 
mourning?  How about black men's suits in the mid 1800s?  Were there 
periods when wearing black meant mourning in some circumstances and not in 
others?  Also, when did the wearing of black cease to mean mourning (and I 
don't mean today's Goths)?

I'm not just hassling you, I'd really like to know this.


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

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Date: Fri, 12 Dec 2003 14:32:53 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 17th century costume group- a funny :-)
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>I read your web address and thought you were in California. Baroque is my 
>husbands favorite time period (unfortunately the other reinactment group 
>we play with stops @1600) We hope to be transferred to san diego shortly 
>and I thought whoopee! After some reading I realized the ca was for 
>canada,lol. who would have thought? ;-)

When in San Diego, check out the ship Star of India.  She's a three-masted 
sailing ship more than 100 years old.  Volunteers with a certain number of 
hours per year (and a health plan) can sail on her when she goes out for 
her annual sail!

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

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From: "Kim Baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Pressing vintage 1890s silk dress?
Date: Fri, 12 Dec 2003 16:49:41 -0600
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DON"T!!!

It can probably be safely steamed. If you don't have a steamer, take it
to someone who does--dry cleaner, alterations tailor, etc.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Talia
Sent: Tuesday, November 25, 2003 5:43 PM
To: Historical Costume
Subject: [h-cost] Pressing vintage 1890s silk dress?

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: "Sarah Goodman-Rodriguez" <sarah@modehistorique.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Re: Black 
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The rumor I've heard is that black was established as the color of 
mourning after Queen Victoria took to wearing it in her widowhood.  
Certianly, the Victorian era is when you start seeing all the 
elaborate rules of mourning cropping up, such as how much black you 
are required to wear in relation to the deceased, how long, what type 
of fabric, etc.  

This is completely unsubstaniated by research on my part, however.  ;)

Sarah
http://www.modehistorique.com

> 
> >         Black for mourning -  I've documented it back to the 13th 
> > century,  in Western Europe and Britain.  Still looking for 
earlier 
> > sources...  interested in how long those roots go.
> 
> OK, so some people wore black for mourning as early as the 13th 
century 
> (and I do believe you when you say that you can document this).  But 
when 
> did the idea that black necessarily meant mourning begin in Europe?  
And 
> did it mean that all over Europe, or just in some countries or 
circumstances?
> 
> In Spain, in the Renaissance, black seems very common for dresses 
and men's 
> garments, as it does for the long robes for scholars and older men 
in the 
> Germanies at the same time.  Did this necessarily indicate 
mourning?  Does 
> the fact that most Catholic and Anglican priests wear black indicate 
> mourning?  How about black men's suits in the mid 1800s?  Were there 
> periods when wearing black meant mourning in some circumstances and 
not in 
> others?  Also, when did the wearing of black cease to mean mourning 
(and I 
> don't mean today's Goths)?
> 
> I'm not just hassling you, I'd really like to know this.
> 
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
> 
> _______________________________________________
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> 
> 

-- 

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Subject: RE: [h-cost] 17th century costume group- a funny :-)
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   Currently the Rose is also moored there, though she is still wearing her
colors as The Surprise from Master and Commander.

Ranald


>When in San Diego, check out the ship Star of India.  She's a three-masted
>sailing ship more than 100 years old.  Volunteers with a certain number of
>hours per year (and a health plan) can sail on her when she goes out for
>her annual sail!
>
>       CarolynKayta Barrows
>dollmaker, fibre artist, textillian
          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Elizabethan wigs
References: <BBFF5746.D2B%LDownward@chori.org>
	<011301c3c0e9$40855a20$240110ac@TEENADESKTOP>
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I've gotten great pearls from Fire Mountain Gems.  They have a huge
variety of differently shaped (and colored) freshwater pearls.  They
also have some nice fake ones, done on a glass base (much nicer weight
than plastic).
--sue

Teena Paradise wrote:
> 
> The bead show is here in Atlanta this weekend. You can bet I am going to try
> and finagle one of these deals! :)
> ----- Original Message -----
> From: "Lynn Downward" <LDownward@chori.org>
> To: "h costume" <h-costume@indra.com>
> Sent: Friday, December 12, 2003 2:30 PM
> Subject: Re: [h-cost] Elizabethan wigs
> 
> > A few years ago I went to one of those traveling bead shows or fairs - it
> > was at the San Mateo (Calif) convention center or some such place. I was
> > able to snag 33 strands (16") of rice pearls for 50 cents a strand because
> I
> > bought the whole bunch. You should have seen my Elizabethan court outfit
> > that year. Granted, not all the pearls were good enough to use, but I
> > probably lost the equivalent to one strand in the 20 strands I used for
> the
> > outfit. The others I've been using for jewelry, Christmas ornaments, etc.
> It
> > was a great purchase. I know that we have one company that puts these
> shows
> > on up and down the coast; they hit the S.F. Bay area in March and
> September
> > and are, I think, in L.A. in May and November. Check the bead stores in
> your
> > area for info, or look in the beading magazines, especially Beads &
> Buttons.
> >
> > LynnD
> >
> > On 12/12/03 10:35 AM, "Teena Paradise" <bkessinger@ureach.com> wrote:
> >
> > > I found a guy in Bejing who sells potato pearls on ebay. Very nice
> quality!!
> > > I can't remember exactly, but I want to say we paid $3 a strand. And
> they
> > > came in this cool chinese pouch.
> > >
> > > Teena
> > > ----- Original Message -----
> > > From: "Betsy Marshall" <betsy@softwareinnovation.com>
> > > To: "'Historical Costume'" <h-costume@indra.com>
> > > Sent: Friday, December 12, 2003 11:03 AM
> > > Subject: RE: [h-cost] Elizabethan wigs
> > >
> > >
> > >> Pearls are(were?) also very "in" for decorating cauls, hats doublets
> > >> etc, and freshwater "rice" or "potato" shaped pearls can be had for
> > >> anywhere from 2-20$ per 16" string. We were just discussing this on my
> > >> Jewelry group. One vendor had an offer of 100 strings for 100$ various
> > >> colors and sizes, but it bears investigating! If you want really round
> > >> or Saltwater pearls, expect to pay much more...
> > >> Hoping to help- Betsy
> > >>
> > >> PS>There were also a lot of period ways to fake gems too! In fact I
> > >> recall mention of a method of faking pearls which involved glass beads,
> > >> glue, and ground fish scales..
> > >>
> > >> -----Original Message-----
> > >> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> > >> On Behalf Of Rachel
> > >> Sent: Friday, December 12, 2003 8:22 AM
> > >> To: Historical Costume
> > >> Subject: Re: [h-cost] Elizabethan wigs
> > >>
> > >>  --- seamstrix@juno.com wrote: >
> > >>> How short is short? I have found that a jeweled/embroidered caul and a
> > >>> tall hat hide a multitude of non-period hair sins.
> > >>
> > >> Well it is just below my ears and curly, which makes it practically
> > >> impossible to keep it in one
> > >> place for any length of time, except when I wear a coif which covers
> > >> everything.  The other
> > >> problem with your suggestion is that as my group is seriously dedicated
> > >> to authenticity a jewelled
> > >> caul would be equally expensive!
> > >>
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> 
> _______________________________________________
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Elizabethan wigs
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On Fri, 12 Dec 2003, Sue Clemenger wrote:

> I've gotten great pearls from Fire Mountain Gems.  They have a huge
> variety of differently shaped (and colored) freshwater pearls.  They
> also have some nice fake ones, done on a glass base (much nicer weight
> than plastic).

Fire Mountain has excellent customer service and a better return policy
than most bead/pearl vendors, though you usually pay a little more.

I've heard that the pearls from South Pacific are quite good, and I know
his prices are excellent (though I haven't seen the pearls myself).
Because of the irregular supply he's taken the pearls out of his catalog
and put them in the monthly flyer. The pearl page on his current flyer is
here: http://www.southpacificwholesale.com/month6.htm

His catalog is a stitch to read, anyway.
http://www.beading.com/catalogue.html

I get my pearls from a local wholesaler; example price $3.50/strand for
freshwater pearls in rice size/shape, many colors available. That's at the
counter, though. They have a web presence at
http://www.nationalsupply.com/ but if you're looking for something in
particular, just call them for up-to-date information.

--Robin


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For higher end jewlery findings and gems, I buy from Rio Grande.
They tend to have gemstone beads with much more uniform cuts and holes
that are of useable size (not always true of the ones from South Pacific
and Fire Mountain...but at least South Pacific warns you about that).
http://www.riogrande.com
They tend to have *much* better prices on silver and gold stock, as well
if you do your own jewelry work.

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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At 11:11 PM -0700 12/11/03, Sue Clemenger wrote:
>Hey, I didn't think of it from that angle! So...what projects have folks
>actually *finished* this past year?


*grin*  Well, it's not costume-related, but this year I finally 
finished my PhD!  (Only one more signature to go, and the deadline 
for turning it in is the 18th, so I'm still gnawing my knuckles to 
the bone.)  Other than that ....  Hmm, what _have_ I done.  Nothing 
really big.  More experiments with early medieval knee-length cloth 
hose.  More fun doing doll-sized replicas of archaeological clothing. 
An everyday suit coat and vest based on mid/late 18th c. patterns.  A 
new style of Migration Era shoe.

Projects for the new year -- I really need to do the set of 
Elizabethans for my youngest brother that I promised him several 
years ago.  (Oops, _more_ than several years.  Not sure I want to 
calculate the precise number.)  I've got enough thread spun to finish 
the starting warp for my Iron Age cloak, so I need to spin ahead for 
the weft so I won't have the upright loom tying up space in the 
living room too long.  I'm now free of my self-imposed web-absence, 
and one of the things I want to get up is my working database of 
archaeological clothing.  And I just might make some new clothes for 
myself ....

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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>>> kayta@frys.com 12/12/03 22:07:44 >>> wrote:

>OK, so some people wore black for mourning as early as the 13th
>century (and I do believe you when you say that you can document this).
 >But when did the idea that black necessarily meant mourning begin in
>Europe?  And did it mean that all over Europe, or just in some
countries >or circumstances?

>In Spain, in the Renaissance, black seems very common for dresses >and
men's  garments, as it does for the long robes for scholars and older
>men in the Germanies at the same time.  Did this necessarily indicate
>mourning?  Does the fact that most Catholic and Anglican priests wear
>black indicate mourning?  How about black men's suits in the mid
>1800s?  Were there periods when wearing black meant mourning in >some
circumstances and not in others?  Also, when did the wearing of >black
cease to mean mourning (and I don't mean today's Goths)?

I don't think black has ever *only* been a sign of mourning. It could
be worn to indicate sober respectability (17th century Puritans, clergy
in later centuries, Victorian businessmen in black frock-coats) and of
course in more recent times we have the "little black dress", where
black represents classic elegance.


Kate Bunting
Library, University of Derby
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> I think black was just very, very popular. I've found references in
> literature to black worn for mourning, but I don't think we can say that
> they were mourning *because* they wore black. In fact, if you look at
> paintings from Italy and Spain at that time, all they seem to wear a LOT
of
> black, then SOME colours in the range red-pink, some yellow, and not much
> else, even if they do exist in other colours.

It's not just the black, but the all black trim or the use of only minimal
amount of pearl trimming. Not all black means mourning sure, but there are
definitely clues regarding trim (crepe for later centuries specifically, how
much was used dictated how far into mourning you were etc.)

The Elizabeth de Valois one is almost certainly in mourning as it was
painted shortly before her death, if not just after as she dies within six
months of her huband.

I did not assume that it was mourning based purely on the black, but the use
of trimming and some understanding of at least one of the women.

Personally I'd love it to not be mourning wear.. or that one or two of the
other ladies were not in mourning so I could fudge it a little and pretend,
well she could wear this for mourning but it could also be fashionable.

But the gown is just so stunning in its super clean lines that I will make
it regardless of whether she really is in mourning.

Which she probably is;)

michaela
http://costumes.glittersweet.com


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First go here: http://bobsawyer.com/

Then go here: http://www.adgame-wonderland.de/type/bayeux.php

to see how to do one for yourself. 

Very funny!


Karen

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At 11:01 PM -0700 12/11/03, h-costume-request@indra.com wrote:
>November/December 2003.  The cloak is really cool--in design, it's a
>fairly simple half-circle cloak with a hood.  What's neat is what the
>artist did for the weave.  For the warp, she used 2 different
>thicknesses of 2-ply wool in 10 random "forest" colors.  The weft is a

SNIP

>I'd love to make a cloak like this, but I don't have a loom wide
>enough.  I'm also not that experienced a weaver.  Yet! <g>
>--sue

Thanks--have mag ordered, soooo just how wide a loom is needed???
Ta
Carol, with a 60" loom occupying most of what was the formal room 
with high ceilings...and at least 2 projects ahead of this one....
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You're in luck.  The one the artist/author used was an 8-shaft loom with
a 60" reed; reed has 10 dents/inch.  Fabric was woven @ 10 epi for warp
and 10 ppi for weft.
I bet if one was sufficiently practiced in weaving, that one could adapt
the instructions for a narrower loom, and weave 2 pieces of fabric and
sew them together, but I'm just a beginner, and a floor loom is years
away for me, in terms of financial investment AND room in this tiny
little apartment! <g>
--sue

fastusminimus wrote:
> 
 
> Thanks--have mag ordered, soooo just how wide a loom is needed???
> Ta
> Carol, with a 60" loom occupying most of what was the formal room
> with high ceilings...and at least 2 projects ahead of this one....
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Oh, hey! That's awesome! You've been working on that for a while, now,
haven't you?  "Dr. Jones," that sounds so cool!
What are you using to spin the yarn for your cloak? and what kind of
(I'm assuming) wool?  Are you using singles, or are you plying it?
--sue, full of questions this morning

Heather Rose Jones wrote:
> 
> At 11:11 PM -0700 12/11/03, Sue Clemenger wrote:
> >Hey, I didn't think of it from that angle! So...what projects have folks
> >actually *finished* this past year?
> 
> *grin*  Well, it's not costume-related, but this year I finally
> finished my PhD!  (Only one more signature to go, and the deadline
> for turning it in is the 18th, so I'm still gnawing my knuckles to
> the bone.)  Other than that ....  Hmm, what _have_ I done.  Nothing
> really big.  More experiments with early medieval knee-length cloth
> hose.  More fun doing doll-sized replicas of archaeological clothing.
> An everyday suit coat and vest based on mid/late 18th c. patterns.  A
> new style of Migration Era shoe.
> 
> Projects for the new year -- I really need to do the set of
> Elizabethans for my youngest brother that I promised him several
> years ago.  (Oops, _more_ than several years.  Not sure I want to
> calculate the precise number.)  I've got enough thread spun to finish
> the starting warp for my Iron Age cloak, so I need to spin ahead for
> the weft so I won't have the upright loom tying up space in the
> living room too long.  I'm now free of my self-imposed web-absence,
> and one of the things I want to get up is my working database of
> archaeological clothing.  And I just might make some new clothes for
> myself ....
> 
> Heather
> --
> *****
> Heather Rose Jones
> hrjones@socrates.berkeley.edu
> *****
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From h-costume-bounces@indra.com  Sat Dec 13 11:18:08 2003
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Subject: [h-cost] drawn bonnet
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I found a view pictures that I hope will help,

http://themantuamaker.net/dressybonnets

The rust coloured bonnet in the top row shows a good example of a capote back, most of the rest show "hard-backs" which are backed in buckram. The black one in the top row is a good example of adding caning as trim, as opposed to caning the entire bonnet (and I misspoke, the caned trim is on the brim, not the crown - bonnets have only very small crowns at the back)

http://www.antique-fashion.com/2203.htm

This is earlier, but again shows a capote-type back.

The more original bonnets I see leads me to believe there's not a whole lot you can do "wrong" as long as you have the correct foundation shaping (which you do) and are careful to stay away from obviously modern  - read plastic - trimmings; it seems that just about anything goes for bonnets!
Kelly
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From h-costume-bounces@indra.com  Sat Dec 13 11:23:51 2003
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I'm wondering if it (black textiles) couldn't have been thought of in a
number of ways? as luxury items, because of the cost of dyeing things a
good black?
But black or dark colors (dark grey, dark brown, etc.) also start having
overtones of "soberness" and piety by the time you get to the protestant
revolution--I'm thinking of Stubbes' railing against all the clothing
and fashion excesses, and later (17th c.) clothing differences between
those following Cromwell, and those trying to restore Charles? And then,
you could throw in all the American stuff--ISTR learning about laws
forbidding certain colors and such in the puritan areas (and what just
popped into my mind was the attitudes expressed in Hawthorne's "The
Scarlet Letter").
I would venture to say (and it's pure speculation) that the earlier
(medieval) use of brown or black or whatever for different religious
orders may have some of the "non-worldly" flavor of the later puritans
and the like.  And perhaps, the colors were natural wool colors, and not
dyed? But then, I'm rambling!
--sue, going away now before she writes a book! ;o)

Audrey Bergeron-Morin wrote:
> 
> > Didn't black become the color for mourning clothes in a later century?
> 
> Actually, you might be right, I know I read two references to black as a
> mourning color in my literature course, but there's one I can't remember
> where I saw it. I also thought that it was in later centuries. However, in
> Dr Faustus by Marlowe, published in 1604, there is the following (last act,
> last scene)
> 
> > We'll give his mangled limbs due burial,
> > And all the students clothed in mourning black
> > Shall wait upon his heavy funeral.
> 
> I think we have to make the difference that maybe il later centuries you
> would never wear black unless you were in mourning, and in other centuries
> you would also wear black when you were not in mourning. But this is highly
> speculative.
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Subject: Re: Black was: Re: [h-cost] Another new topic
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Hey there...  nope,  not hassled,  I do like a good meaty conversation.

Now that I'm home and near my resources I can give you a better answer.

Working backwards...

QEI  funeral - 1603  - There are references to black cloth draping the 
carriage that carried her funeral effigy,  Also an image of her funeral 
cortege shows everyone in 
black.   http://www.kwantlen.bc.ca/~donna/sca/flags/f012.html   (a better 
one at http://tudorhistory.org/elizabeth/funeral.jpg)

Moving backwards in time... to the death of Jane Seymour...  in 1537 King 
Henry wore black until well into 1538.

Back still further... The funeral of Phillip the Good  in 1404
Records of the funeral show that these were sixty official mourners all 
donned in black, and at one stop along the route -Dijon- the cortege was 
met by 100 burgesses and 100 poor men,  all dressed in black.  Vol.33 
Essays in History "The Funeral of Duke Phillip the Good" by Edward A 
Tabri.  And churches along the route were clothed in black as the Dukes 
body made it's way to its final resting place.   In St. Donation  the nave 
and the choir of the church were covered in a variety of black cloths.  And 
the chief mourner and heir of Duke Phillip the Good provided 400 men to be 
dresses in black at his expense.  And their only connection to the Duke was 
to hold torches along the funeral route. A cloth of gold,  lined in black 
satin covered the coffin.

A little further back... After the death of his father the late 1300's 
Philip the Good "spent the rest of his life almost exclusively dressed in 
black"

Looking back to the 11th century -  the death of Edward the Confessor is 
recorded on 
the 
<http://www.sjolander.com/viking/museum/bt/bt.htm>Bayeux<http://www.sjolander.com/viking/museum/bt/bt.htm> 
Tapestry -  here the body is shown dressed in black- more accurately what 
might have been black.  The members of the funeral procession however, are 
not.

Like I said I'm still looking into this topic.  But it's proving 
fascniating.   Also,  an area of particular interest is the division 
between west and east.  Things are looking wonderfully muddled in Eastern 
Europe.

More later.
Mari


>OK, so some people wore black for mourning as early as the 13th century 
>(and I do believe you when you say that you can document this).  But when 
>did the idea that black necessarily meant mourning begin in Europe?  And 
>did it mean that all over Europe, or just in some countries or circumstances?
>
>In Spain, in the Renaissance, black seems very common for dresses and 
>men's garments, as it does for the long robes for scholars and older men 
>in the Germanies at the same time.  Did this necessarily indicate 
>mourning?  Does the fact that most Catholic and Anglican priests wear 
>black indicate mourning?  How about black men's suits in the mid 
>1800s?  Were there periods when wearing black meant mourning in some 
>circumstances and not in others?  Also, when did the wearing of black 
>cease to mean mourning (and I don't mean today's Goths)?
>
>I'm not just hassling you, I'd really like to know this.

Mari Stewart,  Cornell University, Ithaca, NY 

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Thanks!

liz

Joan Broneske wrote:

>The number is 8448
>
>
>
>-----Original Message-----
>Behalf Of Elizabeth Young
>
>Joan Broneske wrote:
>
>  
>
>>I did happen to locate the Burda patterns on line and found the dirndl
>>pattern.
>>
>>    
>>
>What is the pattern number for the Burda dirndl?
>
>liz young
>
>  
>



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At 9:24 AM -0700 12/13/03, h-costume-request@indra.com wrote:
>You're in luck.  The one the artist/author used was an 8-shaft loom with
>a 60" reed; reed has 10 dents/inch.  Fabric was woven @ 10 epi for warp
>and 10 ppi for weft.

Thanks--mag just got here :-) The movie cloth was woven on a 16 shaft 
loom....and with a much finer sett...But I bet the yarn is available 
from the shop :-) For only money.
So now to see just when multi-multi-multi harness shadow weaves were 
first used...With my luck they are a modern weaving revival 
confection <G> and I bet the cloaks don't shed rain and wind worth a 
d*mn, because they are so pretty <VBG> (that is also the way my luck 
runs...)
Ta
Carol, now to compare sizing for singles warp....
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In a message dated 12/13/2003 3:42:57 AM Eastern Standard Time, thebruce@ihug.co.nz writes:

> The Elizabeth de Valois one is almost certainly in mourning as it was
> painted shortly before her death, if not just after as she 
> dies within six
> months of her huband.

I may be confused a little bit.  It is my understanding that Elizabeth (Elisabeth de) Valois, aka, Isabella of Spain, died in 1568.  She was married to King Philip II of Spain, his third wife, and bore him 2 at least 2 beautiful daughters.  Their marriage ushered in peace between Spain and France, hence earning her the moniker, "Queen of Peace".  It is also my understanding that she died shortly after giving birth.  After her death, he then marries Anne of Austria, and doesn't die until well after 1588 (Spanish Armada years).  Is my history confused, or did I misinterpret what was Michaela wrote?

Laura
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Michaela:

Which black gown are we referring to?  There are two portraits of Elisabeth de Valois wearing gorgeous black gowns.  This is the one I'm interested in reproducing:

http://www.mystudios.com/women/abcde/sofonisba_valois.html

and here's the second:

http://www.tudorplace.com.ar/images/IsabeldeValois02.jpg

Laura

"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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In a message dated 12/13/2003 11:22:41 AM Eastern Standard Time, ms154@cornell.edu writes:

> QEI  funeral - 1603  - There are references to black cloth draping the 
> carriage that carried her funeral effigy,  Also an image of her funeral 
> cortege shows everyone in 
> black.   
> http://www.kwantlen.bc.ca/~donna/sca/flags/f012.html   (a better 
> one at http://tudorhistory.org/elizabeth/funeral.jpg)

I believe what the gentlemen here are wearing are Robes of State.  I could be wrong.

Laura
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Subject: Re: [h-cost] Re: Black was: a segue
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It was my understanding from the book--Sofonisba Anguissola( who was Court Painter and Lady in Wating to Isabella at the Spanish court)  that Isabella , 3rd wife of Phillip II of Spain  actually died after complications of a miscarriage of a 3rd child. Phillip lived on to take a 4th wife, Anne of Denmark--who was a kindly and devoted stepmother to the little 2 little Princesses left behind.
Albra

MysticsLady9@aol.com wrote:
In a message dated 12/13/2003 3:42:57 AM Eastern Standard Time, thebruce@ihug.co.nz writes:

> The Elizabeth de Valois one is almost certainly in mourning as it was
> painted shortly before her death, if not just after as she 
> dies within six
> months of her huband.

I may be confused a little bit. It is my understanding that Elizabeth (Elisabeth de) Valois, aka, Isabella of Spain, died in 1568. She was married to King Philip II of Spain, his third wife, and bore him 2 at least 2 beautiful daughters. Their marriage ushered in peace between Spain and France, hence earning her the moniker, "Queen of Peace". It is also my understanding that she died shortly after giving birth. After her death, he then marries Anne of Austria, and doesn't die until well after 1588 (Spanish Armada years). Is my history confused, or did I misinterpret what was Michaela wrote?

Laura
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From h-costume-bounces@indra.com  Sat Dec 13 14:39:31 2003
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Yeah.  I know zippo about the history of shadow weaves, although it
occurs to me that I'm on a couple of weaving lists, and they might
know.  I do think it's really cool, though.  I've got a friend with a
50th birthday coming up, and I'm going to modify the pattern for the
cloaks (narrower warp, fewer colors, so the shadow patterns show
better), and make her either a scarf or a shawl.
You'll notice, when you read through the article a couple of times, that
the author talks about her variations from the originals (such as her
color range).  What I particularly liked, I guess, was that it was *her*
version of what she thought the fellowship cloaks would have looked
like, which is part of the great fun of fantasy clothing/costuming.
I'd imagine, given the relative coarseness of her weave that even with a
little fulling, the cloaks wouldn't be very wind or water resistant. 
And they're not lined (per the movie, IIRC).  They sure look cool,
though.
Personally, I'm in *love* with the architecture for the Rohan city.  All
that luscious Norse stuff and knotwork....*sigh*
--sue

fastusminimus wrote:
> 
> At 9:24 AM -0700 12/13/03, h-costume-request@indra.com wrote:
> >You're in luck.  The one the artist/author used was an 8-shaft loom with
> >a 60" reed; reed has 10 dents/inch.  Fabric was woven @ 10 epi for warp
> >and 10 ppi for weft.
> 
> Thanks--mag just got here :-) The movie cloth was woven on a 16 shaft
> loom....and with a much finer sett...But I bet the yarn is available
> from the shop :-) For only money.
> So now to see just when multi-multi-multi harness shadow weaves were
> first used...With my luck they are a modern weaving revival
> confection <G> and I bet the cloaks don't shed rain and wind worth a
> d*mn, because they are so pretty <VBG> (that is also the way my luck
> runs...)
> Ta
> Carol, now to compare sizing for singles warp....
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From h-costume-bounces@indra.com  Sat Dec 13 14:40:51 2003
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From: "Pam and David" <someone@eskimo.com>
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References: <20031128.064310.1888.9.Cley@juno.com>
Subject: Re: [h-cost] needlelace sources?
Date: Sat, 13 Dec 2003 11:41:19 -0800
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I don't know about books or websites, but I can tell you there is a
needlelace list:

needlelacers@yahoogroups.com

I'm sure they could help you out!

Pam Dotson
Everett, WA  USA
----- Original Message -----
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Cc: <Cley@juno.com>; <antir-laurels@antir.sca.org>
Sent: Friday, November 28, 2003 6:40 AM
Subject: [h-cost] needlelace sources?


> 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 h-costume-bounces@indra.com  Sat Dec 13 16:47:49 2003
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Subject: [h-cost] Re: Black and What I've Done This Year
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Re: use of black in costume: Right now I'm taking notes from Hispanic
Costume 1480-1530 and the most often mentioned colors are black, white, and
crimson. There have been occasional references to green and one or two to
gray and tawney, but so far it seems like Renaissance Spain stuck to these
very basic colors, at least in the nobility, and so far there have been no
specific references to black used in mourning - I guess it was just popular
in that time and place. Suits me - colors like tawney tend to wash me out!

Re: What I've Done This Year - coming late to this thread, but hopefully not
too late! As usual I've not completed half the things I intended to, but
still managed:

1) Black and green vinyl duster based on a style from the tv show
"Farscape". There was a lot of piecing and I had to make the pattern first;
the entire thing took about 2 months. Photos can be found at
http://photos.yahoo.com/anotherthurman under the "Science Fiction Costumes"
folder.

2) New corset from Drea's Corset Generator, with tabs. Another excuse to use
Chinese brocade (not period, but then, when worn with other
Elizabethan/Tudor gear it won't show!)

3) 2 partlets - one plain white, based on styles found at Drea's site and at
the Renaissance Tailor, white linen. I'm working on another one from Margo's
pattern, but I'm doing blackwork on it first so it isn't even cut out yet :/

4) Chemise and halfway through the stays for a Regency dress I'm making for
Costume Con. Progress has crawled due to busy schedule/lack of funds for
materials, but I hope to finish it in January (Crosses fingers!)

Allison T.

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Date: Sat, 13 Dec 2003 13:10:24 -0800
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: Black was: Re: [h-cost] Another new topic
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At 9:25 AM -0700 12/13/03, Sue Clemenger wrote:
>I would venture to say (and it's pure speculation) that the earlier
>(medieval) use of brown or black or whatever for different religious
>orders may have some of the "non-worldly" flavor of the later puritans
>and the like.  And perhaps, the colors were natural wool colors, and not
>dyed? But then, I'm rambling!

Yes, there are good documentary indications that several medieval 
religious Orders chose to wear garments of undyed wool, either white 
(the Cistercians, IIRC) or brown/black (Benedictines, Franciscans). 
You may be remembering this because I think we had a discussion about 
it on this list a few months ago. (Or was it another list? I can 
never keep track...:)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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I think it was this list, and I *was* thinking of the prior discussion
when I wrote it.  So at least we're both on the same track! ;o)
--sue

Chris Laning wrote:
> 
> At 9:25 AM -0700 12/13/03, Sue Clemenger wrote:
> >I would venture to say (and it's pure speculation) that the earlier
> >(medieval) use of brown or black or whatever for different religious
> >orders may have some of the "non-worldly" flavor of the later puritans
> >and the like.  And perhaps, the colors were natural wool colors, and not
> >dyed? But then, I'm rambling!
> 
> Yes, there are good documentary indications that several medieval
> religious Orders chose to wear garments of undyed wool, either white
> (the Cistercians, IIRC) or brown/black (Benedictines, Franciscans).
> You may be remembering this because I think we had a discussion about
> it on this list a few months ago. (Or was it another list? I can
> never keep track...:)
> --
> _________________________________________________________
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> +    Davis, California
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Subject: Re: [h-cost] Re: Black was: a segue
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Oops, I was mistaking the death of Carlos for that of his father;)

She was intended to marry him but then was married to Philip (and then
there's the opera based on the romatic version of their lives;).) I was also
given the wrong date of the portrait which is the Sofonisba one with pearls.
Which means it is unlikely she was in mourning, which means I can make it
without worry;) Unless people know of a death in 1565 that would have
affected her?

And so I'm going to have fun using my documentation as they are all dressed
fairly solidly in black;) Poor printer.

And the search for the perfect velvet continues..... I need it finished by
November next year so it's not that urgent;)


michaela
http://costumes.glittersweet.com


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Date: Sat, 13 Dec 2003 10:08:22 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Another new topic
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At 9:09 AM -0700 12/13/03, Sue Clemenger wrote:
>Heather Rose Jones wrote:
>>
>>  At 11:11 PM -0700 12/11/03, Sue Clemenger wrote:
>>  >Hey, I didn't think of it from that angle! So...what projects have folks
>>  >actually *finished* this past year?
>>
>>  *grin*  Well, it's not costume-related, but this year I finally
>>  finished my PhD!  (Only one more signature to go, and the deadline
>>  for turning it in is the 18th, so I'm still gnawing my knuckles to
>>  the bone.)  Other than that ....  Hmm, what _have_ I done.  Nothing
>>  really big.  More experiments with early medieval knee-length cloth
>>  hose.  More fun doing doll-sized replicas of archaeological clothing.
>>  An everyday suit coat and vest based on mid/late 18th c. patterns.  A
>>  new style of Migration Era shoe.
>>
>>  Projects for the new year -- I really need to do the set of
>>  Elizabethans for my youngest brother that I promised him several
>>  years ago.  (Oops, _more_ than several years.  Not sure I want to
>>  calculate the precise number.)  I've got enough thread spun to finish
>>  the starting warp for my Iron Age cloak, so I need to spin ahead for
>>  the weft so I won't have the upright loom tying up space in the
>>  living room too long.  I'm now free of my self-imposed web-absence,
>>  and one of the things I want to get up is my working database of
>>  archaeological clothing.  And I just might make some new clothes for
>  > myself ....

>Oh, hey! That's awesome! You've been working on that for a while, now,
>haven't you?  "Dr. Jones," that sounds so cool!
>What are you using to spin the yarn for your cloak? and what kind of
>(I'm assuming) wool?  Are you using singles, or are you plying it?
>--sue, full of questions this morning
>

I've been working on the PhD since 1993, which is almost embarrassing 
to confess, but I was having _so_ much fun being a student that it 
took me a while to really accept that the point was to become 
not-a-student eventually.  As with most bureaucratic processes, the 
tail end is almost anticlimactic:  I turn in all my various paperwork 
and manuscripts this week and then in a month or two they send me a 
letter saying, "yup, it's official."  If these things are timed 
correctly, one can consider the graduation ceremony to be a nice 
point of closure, but I went ahead and participated in the ceremony a 
year ago, on the mistaken assumption that I'd be able to finish it up 
that summer.  So now I'm left with a whimper rather than a bang. 
Having had the family celebratory party after the graduation ceremony 
last year, I've still got very loose plans to do some sort of SCA 
celebratory party, but the plans will probably founder on the rock of 
not having an occasion until long after the fact and then feeling 
silly about it.  My one certain "rite of passage" appointment is to 
go out to dinner at a very nice restaurant (current plans: Chez 
Panisse) with my friend Jan.  (We started the program at the same 
time, did Celtic languages together, co-ran a couple of Celtic 
Studies conferences, and suffered through many of the same roadblocks 
... although she gave it up after getting her Masters.)  ObCostume: 
Although I purchased the cap and hood for my ceremony, I only rented 
the gown, because I want to make up a proper Scholars Gown in good 
fabric for any future occasions when I might have cause to wear one. 
(Even the purchase gowns are cheesy acetate.)  I can't really imagine 
what those occasions might be, since I'm not staying in academia, but 
you never know.

On the Cloak -- I'm spinning the thread with a drop spindle ... not 
for extra authenticity, but because I only wedge in spinning time 
while at SCA events, and I can get an entire spindle-full spun in a 
weekend while walking around doing other stuff, whereas if I were 
using a wheel, I'd never get anything done because I'd have to stay 
in one place.  Besides, it's kind of fun to see people doing a 
double-take when they notice that I really am spinning _constantly_ 
-- including going up and kneeling in court.  One hard part is 
keeping the thread relatively constant in size when the spinning 
takes years at significantly separated intervals.  Mostly, I just aim 
for the finest thread I can consistently maintain without breakage, 
and I've been spinning long enough that I'm not significantly 
improving any more with such scattered practice, so it stays pretty 
constant.

The impetus for this project was wanting to see what one of those 
spin-directional check patterns really looks like in real life (as 
opposed to carefully-lit photographs).  So I'll be weaving singles to 
get the spin-direction effect.  This is also the reason I'm spinning 
all the thread myself.  If it were _possible_ to purchase thread that 
was otherwise identical but came in both S and Z, believe me, I'd 
already be wearing the cloak!  So I'm doing an inch-wide tablet-woven 
starting  border resulting in roughly 16 ends per inch.  I haven't 
decided whether I want to try to do tablet-woven selvedges as I go 
along, too.  Currently the thread is natural white, but I may 
contemplate dying it after the project is done. I dunno.  I'll be 
doing some sort of twill -- maybe just a plain 2-2, but it's tempting 
to do some sort of lozenge twill just to break the monotony of the 
weaving a little.  But I need to go back and check my sources and see 
if the spin-directional fabrics were ever done in fancy twills -- it 
might interfere with the optical effect, in which case I'd give it a 
miss.

I did a test-piece a number of years ago -- about a 1 ft x 1 ft piece 
-- and the optical effect is clear, although subtle.  The cloak will 
end up roughly 6x6 ft -- it's starting out a little larger because 
I'm going by thread-count rather than actual measurement and my 16 
ends are just a smidge more than one inch.  The spin-direction blocks 
will be one inch (or rather, 16 threads).  The trick is going to be 
making long-term space in my living room for a warp-weighted loom, 
although I'm going to make it just a little "portable" by using 
water-filled plastic containers for the weights.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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In a message dated 12/13/2003 2:01:41 PM Eastern Standard Time, albrakat7@yahoo.com writes:

> Anne of Denmark

Ahhhhh!  Anne of Denmark.  That would make more sense than Anne of Austria, now wouldn't it?  LOL

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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In a message dated 12/13/2003 7:14:02 PM Eastern Standard Time, thebruce@ihug.co.nz writes:

> And the search for the perfect velvet continues..... I need 
> it finished by
> November next year so it's not that urgent;)

Michaela:

Since we're both interested in reproducing the same gown, and you're going to get a start on it well before I even get a chance to think about it, please keep us (me) apprised of your progress.  I would be very interested in reading your dress diary on this gown, if you plan to keep one.

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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Subject: [h-cost] Anyone out there near Nottingham or Lincoln Castle?
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If you are could you contact me off list.?

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Subject: Re: [h-cost] Re: Black and What I've Done This Year
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On Saturday, December 13, 2003, at 09:46  pm, A.Thurman wrote:

> Re: use of black in costume: Right now I'm taking notes from Hispanic
> Costume 1480-1530 and the most often mentioned colors are black, 
> white, and
> crimson. There have been occasional references to green and one or two 
> to
> gray and tawney, but so far it seems like Renaissance Spain stuck to 
> these
> very basic colors, at least in the nobility, and so far there have 
> been no
> specific references to black used in mourning - I guess it was just 
> popular
> in that time and place.

Most of the portraits of Elisabeth, Anne of Austria, Philip, and his 
sister Juana show them in black. As far as I know it was for sobriety, 
piety and lack of vanity, or supposed to represent those things. Very 
Catholic. Not sure how the luscious jewels fit into that world view.

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Subject: [h-cost] Re:LOTR cloaks, now shadow weave
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At 12:00 PM -0700 12/14/03, h-costume-request@indra.com wrote:
>Yeah.  I know zippo about the history of shadow weaves, although it
>occurs to me that I'm on a couple of weaving lists, and they might
>know.  I do think it's really cool, though.  I've got a friend with a
>50th birthday coming up, and I'm going to modify the pattern for the
>cloaks (narrower warp, fewer colors, so the shadow patterns show
>better), and make her either a scarf or a shawl.
>You'll notice, when you read through the article a couple of times, that
>the author talks about her variations from the originals (such as her
>color range).  What I particularly liked, I guess, was that it was *her*
>version of what she thought the fellowship cloaks would have looked
>like, which is part of the great fun of fantasy clothing/costuming.
>I'd imagine, given the relative coarseness of her weave that even with a
>little fulling, the cloaks wouldn't be very wind or water resistant.
>And they're not lined (per the movie, IIRC).  They sure look cool,
>though.
>Personally, I'm in *love* with the architecture for the Rohan city.  All
>that luscious Norse stuff and knotwork....*sigh*

Sigh, I did a google and didn't find a site with history. It's a 
dance step, an fantasy gaming device and there are only a few books 
out on it....none of which I own...*sigh*

I also liked her interpretation--it's neat to see other folks vision <G>
I'm thinking about a nice grey Coopworth, blended with darker & 
lighter fleece and spun very fine. Maybe do some very light color 
blending to make it "opally"...  have about 4 colors....Yeah, right 
project #4782 <G>

Soooo are shawls period for late 18th century?? I know that the 
knitted ones seem to be right out, but what about woven ones?

Ta
Carol
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OK, so I found this site, with loverly info on how to weave cloth for 
period clothes....while cruisin for shadow weaves....

http://www.cs.arizona.edu/patterns/weaving/articles/SAMPLES/btd_des4.gif 
for example

I now have no future life <G> this site is awesome!!!!

Ta
Carol, so many centuries, so little time!
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Congratulations, Heather, on the PhD completion!

Heather Rose Jones wrote:
> I did a test-piece a number of years ago -- about a 1 ft x 1 ft piece -- 
> and the optical effect is clear, although subtle.

Could you describe it for those of us who aren't familiar with it?

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"We question whether 'all the king's horses and all the king's men' were 
capable of launching an appropriate medical intervention after Mr. 
Dumpty's unfortunate accident.  What sort of EMS training and equipment 
did these first responders have?"

     -- Dr. Sarah Shea & Sarah Giles, in a paper for the annual silly 
edition of the Canadian Medical Association Journal
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
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At 9:14 PM -0500 12/14/03, Cynthia Virtue wrote:
>Heather Rose Jones wrote:
>>I did a test-piece a number of years ago -- about a 1 ft x 1 ft 
>>piece -- and the optical effect is clear, although subtle.
>
>Could you describe it for those of us who aren't familiar with it?
>

I'm not sure I _can_ -- that's part of the problem.  The simplest 
description is that you see the stripes/checks as "shaded" when 
viewed at the correct angle.  And as the fabric moves, the visibilty 
and contrast of the two directions changes.  It's sort of like the 
optical effect you get with monochrome damask weaves but much subtler.

When these pieces are photographed for publications, they are very 
carefully and precisely lit so that you get maximum contrast, but 
they're generally photographed flat, so the cloth _looks_ like it 
simply has a color check.  You don't experience the changing 
appearance.  So having only seen photos before I started this 
project, I knew that I had no idea what it really looked like.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: [h-cost] Victorian dress pictures
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Hi,

I have pictures!! :-) :-)
http://www.deredere.dds.nl/Victorian/Victorian.html

I wore the dress to a modern X-Mas party from the company where my 
husbands works.
We got so many compliments on our clothing. He was wearing a fantasy 
costume inspired by Japanese anime.
Normally his costume has wings but we left them at home.

My dress still doesn't have sleeves. I just can't decide how I want them 
to look.
Short puffy sleeves with some white lace or schort fitting sleeves with 
seperate longer sleeves for when it is cold and to make it more like a 
day dress.....

What can I wear over the dress when I am outside??
Are there patterns online for making such a thing????

I want to make a bonnet to wear outside.
I have a simp pattern with bonnet can I use that??

toooo many questions......
And less than a week to finish it :-) .

Greetings,
        Deredere



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From h-costume-bounces@indra.com  Mon Dec 15 07:48:53 2003
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Subject: Re: [h-cost] Victorian dress pictures
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>What can I wear over the dress when I am outside??

A Mantel ?

>Are there patterns online for making such a thing????

I think so on Hope's siter I thought I saw one

http://www.uvm.edu/~hag/godey/fashion/di.html

Mel

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Subject: [h-cost] British Land Army 1940s
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Does anyone happen to have any info on patterns for Land army uniforms
Please ?

Mel

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From h-costume-bounces@indra.com  Mon Dec 15 08:31:21 2003
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] Elizabethan wigs
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Thanks for all the suggestions.

I'm still persuing the wig front at the moment, largely becuase it will give me greater
flexibility and that is essential considering the nature of some of our sponsors.

I'd still really love to know whether anything other than human hair was used at the time.

Rachel

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From h-costume-bounces@indra.com  Mon Dec 15 09:22:19 2003
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Subject: Re: [h-cost] Re: Black and What I've Done This Year
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Hilary, you will find a nice discussion of 'the meaning if black' including
this time period, in chapter Five of "Seeing through Clothes" Anne
Hollander,Viking Press,1978. Her theory presentation is rather involved as
to quote her here.  However with the biblio and other chapter notes, I think
you might have an intriguing start for your own elucidation as to how and
why 'black as color choice is woven into the history of costume.
Kathleen
----- Original Message ----- 
From: "Hilary Davidson" <hbgd103@soton.ac.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, December 14, 2003 11:48 AM
Subject: Re: [h-cost] Re: Black and What I've Done This Year


>
> On Saturday, December 13, 2003, at 09:46  pm, A.Thurman wrote:
>
> > Re: use of black in costume: Right now I'm taking notes from Hispanic
> > Costume 1480-1530 and the most often mentioned colors are black,
> > white, and
> > crimson. There have been occasional references to green and one or two
> > to
> > gray and tawney, but so far it seems like Renaissance Spain stuck to
> > these
> > very basic colors, at least in the nobility, and so far there have
> > been no
> > specific references to black used in mourning - I guess it was just
> > popular
> > in that time and place.
>
> Most of the portraits of Elisabeth, Anne of Austria, Philip, and his
> sister Juana show them in black. As far as I know it was for sobriety,
> piety and lack of vanity, or supposed to represent those things. Very
> Catholic. Not sure how the luscious jewels fit into that world view.
>
> _______________________________________________
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>

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Victorian dress pictures
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What beautiful dress---and a great color on you, Deredere!
Albra

Deredere Galbraith <triade@kabelfoon.nl> wrote:
Hi,

I have pictures!! :-) :-)
http://www.deredere.dds.nl/Victorian/Victorian.html

I wore the dress to a modern X-Mas party from the company where my 
husbands works.
We got so many compliments on our clothing. He was wearing a fantasy 
costume inspired by Japanese anime.
Normally his costume has wings but we left them at home.

My dress still doesn't have sleeves. I just can't decide how I want them 
to look.
Short puffy sleeves with some white lace or schort fitting sleeves with 
seperate longer sleeves for when it is cold and to make it more like a 
day dress.....

What can I wear over the dress when I am outside??
Are there patterns online for making such a thing????

I want to make a bonnet to wear outside.
I have a simp pattern with bonnet can I use that??

toooo many questions......
And less than a week to finish it :-) .

Greetings,
Deredere



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I love the color! It looks so elegant too. Simplicity has a pattern out
for a mantle that goes along with their US Civil War collection as well
as a set of headcoverings (more than just hats), you might check out
their online site. Please keep us posted on your progress.


Karen

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 Need a gift or are you looking for a book of doll clothes patterns to dress
antique reproduction and modern dolls in fashions from the late Victorian
era to 1950? Check out the JoAnn's Fabrics and Crafts near you and bring the
50% off coupon with you.

Yesterday, I found a book : The Doll Clothing Collection by Christina
Harris. Full price is $24.95 for the 130+page paperback book. The dolls
modelling the outfits range from 17"-24" tall. 15 patterns are included plus
underwear, shoes, and hat patterns. Although the cut is modern, this is a
good introduction to making historic clothing for dolls, especially for the
novice sewer. Harris includes guidence on fabrics and colors for a good
historic look, and several of the patterns are for boy dolls. Patterns range
from the classic sailor outfits for both boys and girls, to a turn of the
(19th to 20th)motoring outfit and flapper outfit(not the usual fringe fest,
but an earlier 20's party dress). The 50's poodle skirt pattern includes a
pattern for the "poodle", even. A bonus is a "box" for each pattern's
directions that gives a picture and instructions to how to alter the pattern
for a different look. Lots of color illustrations.


The author is British, but the terminology is pretty easy to figure out for
us Yanks. The patterns do not include seamlines(because you will have to
alter them to fit your particular doll, anyway)and British "balance marks"
are used instead of American "notches."

Cindy Abel



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Subject: Re: Black was: Re: [h-cost] Another new topic
From: Lynn Downward <LDownward@chori.org>
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This is really interesting!

I suddenly wondered, how far back does this go in church history? In my
Armenian Orthodox church, the alter is closed off with a purple or black
curtain during Lent and no one sees it during this time of mourning until
Easter morning. The usual curtain is deep burgundy, at least in my church.
Is it the same in other churches?

LynnD


On 12/13/03 8:22 AM, "Mari Stewart" <ms154@cornell.edu> wrote:

> 
> Hey there...  nope,  not hassled,  I do like a good meaty conversation.
> 
> Now that I'm home and near my resources I can give you a better answer.
> 
> Working backwards...
> 
> QEI  funeral - 1603  - There are references to black cloth draping the
> carriage that carried her funeral effigy,  Also an image of her funeral
> cortege shows everyone in
> black.   http://www.kwantlen.bc.ca/~donna/sca/flags/f012.html   (a better
> one at http://tudorhistory.org/elizabeth/funeral.jpg)
> 
> Moving backwards in time... to the death of Jane Seymour...  in 1537 King
> Henry wore black until well into 1538.
> 
> Back still further... The funeral of Phillip the Good  in 1404
> Records of the funeral show that these were sixty official mourners all
> donned in black, and at one stop along the route -Dijon- the cortege was
> met by 100 burgesses and 100 poor men,  all dressed in black.  Vol.33
> Essays in History "The Funeral of Duke Phillip the Good" by Edward A
> Tabri.  And churches along the route were clothed in black as the Dukes
> body made it's way to its final resting place.   In St. Donation  the nave
> and the choir of the church were covered in a variety of black cloths.  And
> the chief mourner and heir of Duke Phillip the Good provided 400 men to be
> dresses in black at his expense.  And their only connection to the Duke was
> to hold torches along the funeral route. A cloth of gold,  lined in black
> satin covered the coffin.
> 
> A little further back... After the death of his father the late 1300's
> Philip the Good "spent the rest of his life almost exclusively dressed in
> black"
> 
> Looking back to the 11th century -  the death of Edward the Confessor is
> recorded on 
> the 
> <http://www.sjolander.com/viking/museum/bt/bt.htm>Bayeux<http://www.sjolander.
> com/viking/museum/bt/bt.htm>
> Tapestry -  here the body is shown dressed in black- more accurately what
> might have been black.  The members of the funeral procession however, are
> not.
> 
> Like I said I'm still looking into this topic.  But it's proving
> fascniating.   Also,  an area of particular interest is the division
> between west and east.  Things are looking wonderfully muddled in Eastern
> Europe.
> 
> More later.
> Mari
> 
> 
>> OK, so some people wore black for mourning as early as the 13th century
>> (and I do believe you when you say that you can document this).  But when
>> did the idea that black necessarily meant mourning begin in Europe?  And
>> did it mean that all over Europe, or just in some countries or circumstances?
>> 
>> In Spain, in the Renaissance, black seems very common for dresses and
>> men's garments, as it does for the long robes for scholars and older men
>> in the Germanies at the same time.  Did this necessarily indicate
>> mourning?  Does the fact that most Catholic and Anglican priests wear
>> black indicate mourning?  How about black men's suits in the mid
>> 1800s?  Were there periods when wearing black meant mourning in some
>> circumstances and not in others?  Also, when did the wearing of black
>> cease to mean mourning (and I don't mean today's Goths)?
>> 
>> I'm not just hassling you, I'd really like to know this.
> 
> Mari Stewart,  Cornell University, Ithaca, NY
> 
> _______________________________________________
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BEAUTIFUL! You look fantastic. Very striking.

A shawl is always an acceptable accessory for this period. "Dress" ones can 
be of fine wool or silk woven and embroidered with very intricate designs and 
fringed... or just all lace.

If you make a bonnet please do not use any of the dress fabric on it! Don't 
make it, as we used to call it, "matchy-matchy". You want a different colored 
bonnet trimmed with flowers or ribbons that match the dress, but not the bonnet 
itself. Imagine a rich dark blue or even emerald green or a dark beige 
covered in red flowers. Then these colors can be used in your fur lined mantel!  :-P

Have fun!
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Lynn:

I am not familiar with liturgical colors in the Armenian Orthodox Church,
but in the Roman Catholic Church the liturgical color for Lent is a sort of
burgundy purple, as opposed to the African Violet/grapey purple that is the
color for Advent. Both are considered times of preparation -- joyful
preparation for Advent, and somber (but not mourning) preparation for Lent.
It's a little hard to tell, because the priests tend to pick their own
preferred color of purple rather than going with the "liturgical" one.

The other liturgical colors, for anyone interested, are white (or gold) for
celebrations, red for martyrs and Pentecost (memory aid: fire and blood),
and green for "ordinary" time, which is all the rest of the time. Apparently
black was once used at funerals, but now the funeral color is white. I have
been told that blue is an alternate color for Advent in the
Episcopal/Anglican Church, but I don't know for sure. We don't close off the
altar, but the altar decorations and vestments are the appropriate colors.

I don't think the color for Lent has anything to do with mourning colors,
but I will have to check that out . . .

Gail Finke

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Here's info about liturgical colors in the Anglican and Episcopal  
churches:
http://www.episcopal-dso.org/pages/li_color.htm
http://www.episcopal-dso.org/pages/int2003/gartig1.htm

Eastern Orthodox:
http://aggreen.net/vestment/liturgical_colors.html

Roman Catholic:
http://www.domestic-church.com/CONTENT.DCC/19980101/ARTICLES/ 
CLR_VSLS.HTM

The Byantine Tradition: (interesting stuff the different rites in this  
tradition)
http://www.ofm-usa.com/AP/ByzLit.htm

Grace/Jessamyn


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Subject: Re: [h-cost] Re: lent and mourning
From: Lynn Downward <LDownward@chori.org>
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On 12/15/03 11:24 AM, "Gail & Scott Finke" <gailscott@eos.net> wrote:

> 
> Lynn:
> 
> I am not familiar with liturgical colors in the Armenian Orthodox Church,
> but in the Roman Catholic Church the liturgical color for Lent is a sort of
> burgundy purple, as opposed to the African Violet/grapey purple that is the
> color for Advent. Both are considered times of preparation -- joyful
> preparation for Advent, and somber (but not mourning) preparation for Lent.
> It's a little hard to tell, because the priests tend to pick their own
> preferred color of purple rather than going with the "liturgical" one.
> 
Yes, burgundy purple, not grape purple, but definitely a very deep purple,
unlike the usual burgundy curtain. And I thought it was for mourning, but
that could have simply been my young mind connecting the 'sad' time of lent
when I had to give something up, mourning and the purple of the curtain. And
Armenian Orthodox, Russian Orthodox and Greek Orthodox are very much the
same except we don't get to have the beautiful Byzantine icons the other
Eastern churches have.

> The other liturgical colors, for anyone interested, are white (or gold) for
> celebrations, red for martyrs and Pentecost (memory aid: fire and blood),
> and green for "ordinary" time, which is all the rest of the time. Apparently
> black was once used at funerals, but now the funeral color is white. I have
> been told that blue is an alternate color for Advent in the
> Episcopal/Anglican Church, but I don't know for sure. We don't close off the
> altar, but the altar decorations and vestments are the appropriate colors.
> 

Now that you mention it, I DO remember that the curtain was a white satin
with gold crosses for Easter and Epiphany rather than the velvet curtains of
the rest of the year.

> I don't think the color for Lent has anything to do with mourning colors,
> but I will have to check that out . . .
> 
> Gail Finke
> 
Thanks, Gail, for the info.

LynnD

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I thought we could start a new holiday tradition on h-costume.  So many of
us have been around so long that we are like family.  Some people are new
and we would like to meet you.  Maybe every year around this time, we can
send a link of our "in-person" family to share with our "online family."
You can share a link to your family webpage or an online image of your
family.  And by all means if you have a photo of you meeting someone from
h-costume, please share that too.  Please don't send your photo through
h-costume email list because it doesn't support attachments or html embedded
photos.

To break the water, I will start first... here is a link to our annual
family photo:
http://www.costumegallery.com/family1sm72.jpg
Daniel was working on Thanksgiving Day when we took our family portrait.  So
we took the photo in front of our family photo wall and you can see Daniel
in old family photos.

Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
& Ben (27).

Happy, Happy Holidays!!!!!!!!!!!!!!!

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


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>To break the water, I will start first... here is a link to our annual
>family photo:
>http://www.costumegallery.com/family1sm72.jpg
>Daniel was working on Thanksgiving Day when we took our family portrait.  So
>we took the photo in front of our family photo wall and you can see Daniel
>in old family photos.
>
>Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
>& Ben (27).

I wish I had family so I could participate.  Xmas is a lonely time of year 
for some of us.

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

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

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From h-costume-bounces@indra.com  Tue Dec 16 05:33:56 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Victorian dress
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Dear Deredere
I went to your website http://www.deredere.dds.nl/Victorian/Victorian.html
And had a look on your Victorian dress.

Congratulations, very nice

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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Subject: Re: [h-cost] Re: Black and What I've Done This Year
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Thanks Kathleen!
On Monday, December 15, 2003, at 02:26  pm, Lloyd Mitchell wrote:

> Hilary, you will find a nice discussion of 'the meaning if black' 
> including
> this time period, in chapter Five of "Seeing through Clothes" Anne
> Hollander,Viking Press,1978. Her theory presentation is rather 
> involved as
> to quote her here.  However with the biblio and other chapter notes, I 
> think
> you might have an intriguing start for your own elucidation as to how 
> and
> why 'black as color choice is woven into the history of costume.
> Kathleen
> ----- Original Message -----
> From: "Hilary Davidson" <hbgd103@soton.ac.uk>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, December 14, 2003 11:48 AM
> Subject: Re: [h-cost] Re: Black and What I've Done This Year
>
>
>>
>> On Saturday, December 13, 2003, at 09:46  pm, A.Thurman wrote:
>>
>>> Re: use of black in costume: Right now I'm taking notes from Hispanic
>>> Costume 1480-1530 and the most often mentioned colors are black,
>>> white, and
>>> crimson. There have been occasional references to green and one or 
>>> two
>>> to
>>> gray and tawney, but so far it seems like Renaissance Spain stuck to
>>> these
>>> very basic colors, at least in the nobility, and so far there have
>>> been no
>>> specific references to black used in mourning - I guess it was just
>>> popular
>>> in that time and place.
>>
>> Most of the portraits of Elisabeth, Anne of Austria, Philip, and his
>> sister Juana show them in black. As far as I know it was for sobriety,
>> piety and lack of vanity, or supposed to represent those things. Very
>> Catholic. Not sure how the luscious jewels fit into that world view.
>>
>> _______________________________________________
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>>
>>
>
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What a lovely family you have, Penny!!! I have heard you talk so often about
different happenings with your children and it is great to be able to put
faces with the stories and names. I also think this is a wonderful idea. As
one of the newer people on the list, I feel I have grown to know many of you
(even if you haven't had the chance to really know me yet) and would love to
have faces to go with your names. Also, I always enjoy seeing what a person
really looks like... so rarely does it match what we have made up in our
heads! So far the only person I have met on the list is Robin, who has been
really wonderful! I hope to be able to meet more of you at Costume Con which
is being held in my home town this year!

My husband and I both hate to get our pictures taken, but if I can find a
photo, I will send a link as well. Here is a link to a picture of our
kids.....
http://mostlymedieval.com/kids.htm

Teena

----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Tuesday, December 16, 2003 2:16 AM
Subject: [h-cost] A New Tradition


> I thought we could start a new holiday tradition on h-costume.  So many of
> us have been around so long that we are like family.  Some people are new
> and we would like to meet you.  Maybe every year around this time, we can
> send a link of our "in-person" family to share with our "online family."
> You can share a link to your family webpage or an online image of your
> family.  And by all means if you have a photo of you meeting someone from
> h-costume, please share that too.  Please don't send your photo through
> h-costume email list because it doesn't support attachments or html
embedded
> photos.
>
> To break the water, I will start first... here is a link to our annual
> family photo:
> http://www.costumegallery.com/family1sm72.jpg
> Daniel was working on Thanksgiving Day when we took our family portrait.
So
> we took the photo in front of our family photo wall and you can see Daniel
> in old family photos.
>
> Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
> & Ben (27).
>
> Happy, Happy Holidays!!!!!!!!!!!!!!!
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
> _______________________________________________
> 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 Dec 16 09:04:45 2003
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Subject: Re: Black was: Re: [h-cost] Another new topic
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I've not heard of the altar being curtained off, but in some Anglican
churches it is stripped during the Maundy Thursday service and left as a
bare table until it is dressed for Easter morning. Apparently this is an
ancient tradition.

>>> LDownward@chori.org 15/12/03 17:37:39 >>>
This is really interesting!

I suddenly wondered, how far back does this go in church history? In
my
Armenian Orthodox church, the alter is closed off with a purple or
black
curtain during Lent and no one sees it during this time of mourning
until
Easter morning. The usual curtain is deep burgundy, at least in my
church.
Is it the same in other churches?

LynnD

Kate Bunting
Library, University of Derby
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From h-costume-bounces@indra.com  Tue Dec 16 09:35:39 2003
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How fun, Penny!
You've got a great looking family, and such a handsome husband!
--Sue, who might have a family picture after Christmas, but doesn't now
:(

Penny Ladnier wrote:
> 
> I thought we could start a new holiday tradition on h-costume.  So many of
> us have been around so long that we are like family.  Some people are new
> and we would like to meet you.  Maybe every year around this time, we can
> send a link of our "in-person" family to share with our "online family."
> You can share a link to your family webpage or an online image of your
> family.  And by all means if you have a photo of you meeting someone from
> h-costume, please share that too.  Please don't send your photo through
> h-costume email list because it doesn't support attachments or html embedded
> photos.
> 
> To break the water, I will start first... here is a link to our annual
> family photo:
> http://www.costumegallery.com/family1sm72.jpg
> Daniel was working on Thanksgiving Day when we took our family portrait.  So
> we took the photo in front of our family photo wall and you can see Daniel
> in old family photos.
> 
> Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
> & Ben (27).
> 
> Happy, Happy Holidays!!!!!!!!!!!!!!!
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
> 
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners (http://www.plugit.com)]
> 
> _______________________________________________
> 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 Dec 16 09:38:54 2003
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You bet it is! I live alone, too, although I've got a brother and sister
who both live a *long* way away.
What about a picture of you, though?
--sue

Carolyn Kayta Barrows wrote:
> 
> >To break the water, I will start first... here is a link to our annual
> >family photo:
> >http://www.costumegallery.com/family1sm72.jpg
> >Daniel was working on Thanksgiving Day when we took our family portrait.  So
> >we took the photo in front of our family photo wall and you can see Daniel
> >in old family photos.
> >
> >Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
> >& Ben (27).
> 
> I wish I had family so I could participate.  Xmas is a lonely time of year
> for some of us.
> 
>         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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Carolyn, then send a picture of yourself to the rest of us, your H-Costume family.  Even though I come *from* a large family, none of my family of siblings have understood my passion for sewing or costuming; thus I *feel* like an orphan.  H-costume and others who love me as I am, being nutty and cuckoo about anything textile, fiber, sewing "related".  See?  We *are* 'related' (grin)

My spouse is great with doing scans and etc for this kind of thing, so as soon as I get our pictures back from the photographer, we'll get these out to you all.

Hugs and many happy holidays to you all!

Gia/Giacinta
> 
> >To break the water, I will start first... here is a link to our annual
> >family photo:
> >http://www.costumegallery.com/family1sm72.jpg
> >Daniel was working on Thanksgiving Day when we took our family portrait.  So
> >we took the photo in front of our family photo wall and you can see Daniel
> >in old family photos.
> >
> >Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
> >& Ben (27).
> 
> I wish I had family so I could participate.  Xmas is a lonely time of year 
> for some of us.
> 
>         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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I'm STILL waiting for our music group's website to get off the ground so
I can direct people to some pictures of me online. It's been in the
pipeline for a year and more. I'm afraid I haven't any other means of
making pictures available.
I've met Stevie, Jean Waddie, Nicole K. and former listmembers Henk and
Teddy. 





Kate Bunting
Library, University of Derby
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] A New Tradition
To: Historical Costume <h-costume@indra.com>
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--- Gia_Gavino@comcast.net wrote:

> My spouse is great with doing scans and etc for this
> kind of thing, so as soon as I get our pictures back
> from the photographer, we'll get these out to you
> all.


Gia, are you the same who recently married Rauthufr at
Autumn War this year?  If so, I have some digital pix
of the ceremony for you.
(and good to see you here!)
Angharat

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Subject: Re: [h-cost] A New Tradition
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Happy Holidays, everyone!!

This is a picture of me and me daughter taken a couple weeks ago at the 
Feast of Epimetheus.  
http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.

Althea


On Monday, December 15, 2003, at 11:16 PM, Penny Ladnier wrote:

> I thought we could start a new holiday tradition on h-costume.  So 
> many of
> us have been around so long that we are like family.  Some people are 
> new
> and we would like to meet you.  Maybe every year around this time, we 
> can
> send a link of our "in-person" family to share with our "online 
> family."
> You can share a link to your family webpage or an online image of your
> family.  And by all means if you have a photo of you meeting someone 
> from
> h-costume, please share that too.  Please don't send your photo through
> h-costume email list because it doesn't support attachments or html 
> embedded
> photos.
>
> To break the water, I will start first... here is a link to our annual
> family photo:
> http://www.costumegallery.com/family1sm72.jpg
> Daniel was working on Thanksgiving Day when we took our family 
> portrait.  So
> we took the photo in front of our family photo wall and you can see 
> Daniel
> in old family photos.
>
> Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
> & Ben (27).
>
> Happy, Happy Holidays!!!!!!!!!!!!!!!
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners 
> (http://www.plugit.com)]
>
> _______________________________________________
> 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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Date: Tue, 16 Dec 2003 08:05:54 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] A New Tradition
To: Historical Costume <h-costume@indra.com>
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Very cute 'Kids' you have Teena:) do you ever try dressing them for the 'Holidays'?
Albra
(who tried to get her cat, Bella, to sit still with  reindeer antlers and elizabethean ruff--for the family holiday pic----to no avail)

Teena Paradise <bkessinger@ureach.com> wrote:
What a lovely family you have, Penny!!! I have heard you talk so often about
different happenings with your children and it is great to be able to put
faces with the stories and names. I also think this is a wonderful idea. As
one of the newer people on the list, I feel I have grown to know many of you
(even if you haven't had the chance to really know me yet) and would love to
have faces to go with your names. Also, I always enjoy seeing what a person
really looks like... so rarely does it match what we have made up in our
heads! So far the only person I have met on the list is Robin, who has been
really wonderful! I hope to be able to meet more of you at Costume Con which
is being held in my home town this year!

My husband and I both hate to get our pictures taken, but if I can find a
photo, I will send a link as well. Here is a link to a picture of our
kids.....
http://mostlymedieval.com/kids.htm

Teena

----- Original Message ----- 
From: "Penny Ladnier" 

To: "h-costume" 
Sent: Tuesday, December 16, 2003 2:16 AM
Subject: [h-cost] A New Tradition


> I thought we could start a new holiday tradition on h-costume. So many of
> us have been around so long that we are like family. Some people are new
> and we would like to meet you. Maybe every year around this time, we can
> send a link of our "in-person" family to share with our "online family."
> You can share a link to your family webpage or an online image of your
> family. And by all means if you have a photo of you meeting someone from
> h-costume, please share that too. Please don't send your photo through
> h-costume email list because it doesn't support attachments or html
embedded
> photos.
>
> To break the water, I will start first... here is a link to our annual
> family photo:
> http://www.costumegallery.com/family1sm72.jpg
> Daniel was working on Thanksgiving Day when we took our family portrait.
So
> we took the photo in front of our family photo wall and you can see Daniel
> in old family photos.
>
> Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
> & Ben (27).
>
> Happy, Happy Holidays!!!!!!!!!!!!!!!
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Althea Turner wrote:
> Happy Holidays, everyone!!
> 
> This is a picture of me and me daughter taken a couple weeks ago at the 
> Feast of Epimetheus.  
> http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.

Somehow the .jpg fell off the URL.

 > http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.jpg

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

John Henry said to the Captain, "By God, I ain't no fool!  Before I die 
with a hammer in my hand, I'm gonna get me a steam drill too, Lord, 
Lord; get me a steam drill too!"  -- Smothers Brothers song
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----- Original Message ----- 
From: "Althea Turner" <althea@alfalfapress.com>

> Happy Holidays, everyone!!
> 
> This is a picture of me and me daughter taken a couple weeks ago at the 
> Feast of Epimetheus.  
> http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.
> 
> Althea
> 

Works better with jpg at the end :-) 

Try this link instead
http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.jpg



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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] A New Tradition
To: Historical Costume <h-costume@indra.com>
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What a lovely family , you have Penny---
Have a terrific holiday!
Albra
(who also hopes to have a  working digital camera AND a  family portrait  to share after the holidays)

Penny Ladnier <penny@costumegallery.com> wrote:
I thought we could start a new holiday tradition on h-costume. So many of
us have been around so long that we are like family. Some people are new
and we would like to meet you. Maybe every year around this time, we can
send a link of our "in-person" family to share with our "online family."
You can share a link to your family webpage or an online image of your
family. And by all means if you have a photo of you meeting someone from
h-costume, please share that too. Please don't send your photo through
h-costume email list because it doesn't support attachments or html embedded
photos.

To break the water, I will start first... here is a link to our annual
family photo:
http://www.costumegallery.com/family1sm72.jpg
Daniel was working on Thanksgiving Day when we took our family portrait. So
we took the photo in front of our family photo wall and you can see Daniel
in old family photos.

Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
& Ben (27).

Happy, Happy Holidays!!!!!!!!!!!!!!!

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


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Subject: Re: [h-cost] A New Tradition
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You need to add .jpg to the end of it to get it to work...
http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.jpg

You and your daughter look lovely and I especially like the staging of the
photos in front of the stained glass. Very nice!

----- Original Message ----- 
From: "Althea Turner" <althea@alfalfapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 16, 2003 10:56 AM
Subject: Re: [h-cost] A New Tradition


> Happy Holidays, everyone!!
>
> This is a picture of me and me daughter taken a couple weeks ago at the
> Feast of Epimetheus.
> http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.
>
> Althea
>
>
> On Monday, December 15, 2003, at 11:16 PM, Penny Ladnier wrote:
>
> > I thought we could start a new holiday tradition on h-costume.  So
> > many of
> > us have been around so long that we are like family.  Some people are
> > new
> > and we would like to meet you.  Maybe every year around this time, we
> > can
> > send a link of our "in-person" family to share with our "online
> > family."
> > You can share a link to your family webpage or an online image of your
> > family.  And by all means if you have a photo of you meeting someone
> > from
> > h-costume, please share that too.  Please don't send your photo through
> > h-costume email list because it doesn't support attachments or html
> > embedded
> > photos.
> >
> > To break the water, I will start first... here is a link to our annual
> > family photo:
> > http://www.costumegallery.com/family1sm72.jpg
> > Daniel was working on Thanksgiving Day when we took our family
> > portrait.  So
> > we took the photo in front of our family photo wall and you can see
> > Daniel
> > in old family photos.
> >
> > Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
> > & Ben (27).
> >
> > Happy, Happy Holidays!!!!!!!!!!!!!!!
> >
> > Penny Ladnier
> > Owner, The Costume Gallery & Costume Classroom
> > www.costumegallery.com
> > www.costumeclassroom.com
> >
> >
> > [This E-mail was scanned for viruses by Plugit.com Virus Scanners
> > (http://www.plugit.com)]
> >
> > _______________________________________________
> > 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
>
> _______________________________________________
> 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 Dec 16 11:13:46 2003
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Subject: Re: [h-cost] A New Tradition
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Sniff! I'm afraid I could'nt access your pic Althea--is there another address that I could get  to it from?
Albra 

Althea Turner <althea@alfalfapress.com> wrote:
Happy Holidays, everyone!!

This is a picture of me and me daughter taken a couple weeks ago at the 
Feast of Epimetheus. 
http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.

Althea


On Monday, December 15, 2003, at 11:16 PM, Penny Ladnier wrote:

> I thought we could start a new holiday tradition on h-costume. So 
> many of
> us have been around so long that we are like family. Some people are 
> new
> and we would like to meet you. Maybe every year around this time, we 
> can
> send a link of our "in-person" family to share with our "online 
> family."
> You can share a link to your family webpage or an online image of your
> family. And by all means if you have a photo of you meeting someone 
> from
> h-costume, please share that too. Please don't send your photo through
> h-costume email list because it doesn't support attachments or html 
> embedded
> photos.
>
> To break the water, I will start first... here is a link to our annual
> family photo:
> http://www.costumegallery.com/family1sm72.jpg
> Daniel was working on Thanksgiving Day when we took our family 
> portrait. So
> we took the photo in front of our family photo wall and you can see 
> Daniel
> in old family photos.
>
> Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
> & Ben (27).
>
> Happy, Happy Holidays!!!!!!!!!!!!!!!
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners 
> (http://www.plugit.com)]
>
> _______________________________________________
> 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  Tue Dec 16 11:18:16 2003
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Thanks, Cynthia --I could go to see  Althea's pic--with that last bit:) Very lovely Althea---you both look so elegant!
Albra

Cynthia Virtue <cvirtue+dated+1087142673.bfd5b1@thibault.org> wrote:
Althea Turner wrote:
> Happy Holidays, everyone!!
> 
> This is a picture of me and me daughter taken a couple weeks ago at the 
> Feast of Epimetheus. 
> http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.

Somehow the .jpg fell off the URL.

> http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.jpg

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

John Henry said to the Captain, "By God, I ain't no fool! Before I die 
with a hammer in my hand, I'm gonna get me a steam drill too, Lord, 
Lord; get me a steam drill too!" -- Smothers Brothers song
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From h-costume-bounces@indra.com  Tue Dec 16 11:42:08 2003
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Date: Tue, 16 Dec 2003 08:41:18 -0800
Subject: Re: Black was: Re: [h-cost] Another new topic
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Yes, our whole altar area, a raised stage type of area, is closed off for
the entire Lenten time. The celebration takes place in front of the choir's
area, a step up from the rest of the church. It shows how far we are from
heaven at this time of the year. Or maybe heaven is busiest at this time of
year and they don't want us to watch...

LynnD

On 12/16/03 6:03 AM, "Kate M Bunting" <K.M.Bunting@derby.ac.uk> wrote:

> I've not heard of the altar being curtained off, but in some Anglican
> churches it is stripped during the Maundy Thursday service and left as a
> bare table until it is dressed for Easter morning. Apparently this is an
> ancient tradition.
> 
>>>> LDownward@chori.org 15/12/03 17:37:39 >>>
> This is really interesting!
> 
> I suddenly wondered, how far back does this go in church history? In
> my
> Armenian Orthodox church, the alter is closed off with a purple or
> black
> curtain during Lent and no one sees it during this time of mourning
> until
> Easter morning. The usual curtain is deep burgundy, at least in my
> church.
> Is it the same in other churches?
> 
> LynnD
> 
> 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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From: "Teena Paradise" <bkessinger@ureach.com>
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Subject: Re: [h-cost] A New Tradition
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----- Original Message ----- 
From: "KATHRYN WOLTERS" <albrakat7@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 16, 2003 11:05 AM
Subject: Re: [h-cost] A New Tradition


> Very cute 'Kids' you have Teena:) do you ever try dressing them for the
'Holidays'?
> Albra
> (who tried to get her cat, Bella, to sit still with  reindeer antlers and
elizabethean ruff--for the family holiday pic----to no avail)
>

I would love to! In fact, I have toyed with putting medieval barding on
them.... but it wouldn't work. The male (the black one) is very stoic and
would bear it with dignity, but the female (the dapple) might last about 6.3
seconds before she ripped it to shreds.

Teena

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Subject: Re: [h-cost] A New Tradition
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I'll play! :-)

I agree, its nice to put faces to names. I don't have a website as of yet,
still working on getting a digital camera or a scanner, but I do have some
of my dance pictures. This was taken in the spring at my troupe's bi-annual
show:

http://www.dancegypt.com/images/Galleries/Dance_Caravan_03/Caravan%202003%20
060.jpg

This costume was a devil to fit, I bought it from a lady who travels often
to Egypt and brings back costumes for all of her dancer friends. When they
made this one, I really don't think they had a human body in mind. :-) Now I
just make all of my own, it takes less time than trying to properly fit 'one
size' costumes.

Here's the Troupe, I'm on the bottom left (ooo, pasty white....)
http://www.dancegypt.com/index.htm

This one is of my hubby, it was taken the day after he cut off  his waist
length hair, about 4 years ago:

http://www.chainmailstore.com/mw/Main.htm

Unfortunately, I don't have any pictures of us in our good costumes, I'm
working on changing that this year as I finally have some outfits I want to
show off. :-)

Sheridan



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Subject: Re: [h-cost] A New Tradition
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OOpsie...add a .jpg to that url.  lol..  I really should remember to 
NOT operate a computer BEFORE coffee.  :D
Althea

On Tuesday, December 16, 2003, at 07:56 AM, Althea Turner wrote:

> Happy Holidays, everyone!!
>
> This is a picture of me and me daughter taken a couple weeks ago at 
> the Feast of Epimetheus.  
> http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.
>
> Althea
>
>
> On Monday, December 15, 2003, at 11:16 PM, Penny Ladnier wrote:
>
>> I thought we could start a new holiday tradition on h-costume.  So 
>> many of
>> us have been around so long that we are like family.  Some people are 
>> new
>> and we would like to meet you.  Maybe every year around this time, we 
>> can
>> send a link of our "in-person" family to share with our "online 
>> family."
>> You can share a link to your family webpage or an online image of your
>> family.  And by all means if you have a photo of you meeting someone 
>> from
>> h-costume, please share that too.  Please don't send your photo 
>> through
>> h-costume email list because it doesn't support attachments or html 
>> embedded
>> photos.
>>
>> To break the water, I will start first... here is a link to our annual
>> family photo:
>> http://www.costumegallery.com/family1sm72.jpg
>> Daniel was working on Thanksgiving Day when we took our family 
>> portrait.  So
>> we took the photo in front of our family photo wall and you can see 
>> Daniel
>> in old family photos.
>>
>> Kids ages: Katie (12), Sam (16), Pat (18), Andy (20), Daniel (22),
>> & Ben (27).
>>
>> Happy, Happy Holidays!!!!!!!!!!!!!!!
>>
>> Penny Ladnier
>> Owner, The Costume Gallery & Costume Classroom
>> www.costumegallery.com
>> www.costumeclassroom.com
>>
>>
>> [This E-mail was scanned for viruses by Plugit.com Virus Scanners 
>> (http://www.plugit.com)]
>>
>> _______________________________________________
>> 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
>
> _______________________________________________
> 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  Tue Dec 16 12:39:17 2003
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From: "Keri-Anne Lawton" <kalawton@codexpublishing.ca>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] A New Tradition
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Here’s a better link for the last picture. 
http://www.chainmailstore.com/mw/images/People/Phalen%20Gann[1].jpg

Cheers
Keri-Anne

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Sheridan & Shane
Sent: December 16, 2003 10:15 AM
To: Historical Costume
Subject: Re: [h-cost] A New Tradition


I'll play! :-)

I agree, its nice to put faces to names. I don't have a website as of
yet,
still working on getting a digital camera or a scanner, but I do have
some
of my dance pictures. This was taken in the spring at my troupe's
bi-annual
show:

http://www.dancegypt.com/images/Galleries/Dance_Caravan_03/Caravan%20200
3%20
060.jpg

This costume was a devil to fit, I bought it from a lady who travels
often
to Egypt and brings back costumes for all of her dancer friends. When
they
made this one, I really don't think they had a human body in mind. :-)
Now I
just make all of my own, it takes less time than trying to properly fit
'one
size' costumes.

Here's the Troupe, I'm on the bottom left (ooo, pasty white....)
http://www.dancegypt.com/index.htm

This one is of my hubby, it was taken the day after he cut off  his
waist
length hair, about 4 years ago:

http://www.chainmailstore.com/mw/Main.htm

Unfortunately, I don't have any pictures of us in our good costumes, I'm
working on changing that this year as I finally have some outfits I want
to
show off. :-)

Sheridan



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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: Black was: Re: [h-cost] Another new topic
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 I was re-reading my copy of "What Clothes Reveal: Clothing in the Colonial
Williamsburg Collection" and in the chapter covering clothing for bridal,
maternity, children's and mourning wear, apparently there were rules and
regs for mourning, at least going back into the 18th century; it didn't
begin with Victoria. Widows, at least who could afford it, followed the year
and a day in full mourning(dull-finished fabrics with minimal trim and
jewelry)unless they remarried. Then, depending on age(older widows were
expected to remain in black indefinately, or at least in dark colors),
mourning could move into stages towards full colors and patterned and shiny
fabrics. Interestingly the lilac popular for later mourning actually appears
more pink than purple-lavender in fashion plates I've seen quite often.
About ten years ago, while visiting a museum in Rogers, Arkansas, a circa
1895 dress described as half-mourning was more a definate pinky-mauve,
rather than lilac or lavender, although colors do change over time.
Unforturnately, I certainly couldn't get permission to inspect the
inner-seams or lining for more clues on the orginal color of the dress
versus the present color. The woman who was showing me through the
exibit(included a small coffin made for a child who the physician pronounced
doomed not to recover from scarlet fever, but did so--the child lived to a
ripe old age and the family never used the coffin!)was interested in my
comments on the gown's apparent color--it made me wonder if Chanel and other
designers combining pink with black might have it's roots in the
lilac/lavender of half-mourning either being more pink or turning pink over
time, compared to how we presently view the colors lavender and lilac.

Cindy Abel

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Subject: Re: [h-cost] Victorian dress pictures
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Thanks!

I have the mantel almost finished :-) .
Made it from grey/black wool with decorations of black satin ribbons.
Made also a bonnet pattern an I will probably make it from green satin.

Greetings,
        Deredere

Melanie Wilson wrote:

>>What can I wear over the dress when I am outside??
>>    
>>
>
>A Mantel ?
>
>  
>
>>Are there patterns online for making such a thing????
>>    
>>
>
>I think so on Hope's siter I thought I saw one
>
>http://www.uvm.edu/~hag/godey/fashion/di.html
>
>Mel
>
>This e-mail, and any attachment, is confidential. If you have received
>it in error, please delete it from your system, do not use or disclose
>the information in any way, and notify me immediately. The contents of
>this message may contain personal views which are not the views of the
>Company, unless specifically stated
>
>
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Subject: Re: Black was: Re: [h-cost] Another new topic
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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You're probably right about the color. I'm not quibbling at all, but my mind
wandered a step off the specific topic and started thinking about
practicalities.

Unless she was quite young, what widow in her right mind would wear pink,
which makes most of us old enough to be widows fade out into nothing? Lilac
is bad enough, but pink? I guess it depends on the pink, but I for one can't
wear pastels at all any more as I've faded into my 50's. My dark hair has
lightened, not including the grey that's started growing there in the past
few years and the skin isn't the clear peachy color it once was. Blacks,
midnight blues, aubergine, burgundies, forest greens all work, but not the
colors I wore in my 20's. And I can't imagine even a widow going along with
something that made them look unattractive just because that was the
convention. Maybe at some point they'd decide to stay in the darker colors
because they became more flattering.

And
Can you imagine being that child and knowing that you had been expected to
die - and they kept the coffin? If the child didn't have a good feeling of
self-worth, do you think they'd wonder if Pater and Mater were waiting for
him/her to die even after s/he got better? That could certainly warp a
child's view of life.

Just thinking on a slow day at work...
LynnD


On 12/16/03 9:43 AM, "Cindy Abel" <brujne@creighton.edu> wrote:

> 
> 
> I was re-reading my copy of "What Clothes Reveal: Clothing in the Colonial
> Williamsburg Collection" and in the chapter covering clothing for bridal,
> maternity, children's and mourning wear, apparently there were rules and
> regs for mourning, at least going back into the 18th century; it didn't
> begin with Victoria. Widows, at least who could afford it, followed the year
> and a day in full mourning(dull-finished fabrics with minimal trim and
> jewelry)unless they remarried. Then, depending on age(older widows were
> expected to remain in black indefinately, or at least in dark colors),
> mourning could move into stages towards full colors and patterned and shiny
> fabrics. Interestingly the lilac popular for later mourning actually appears
> more pink than purple-lavender in fashion plates I've seen quite often.
> About ten years ago, while visiting a museum in Rogers, Arkansas, a circa
> 1895 dress described as half-mourning was more a definate pinky-mauve,
> rather than lilac or lavender, although colors do change over time.
> Unforturnately, I certainly couldn't get permission to inspect the
> inner-seams or lining for more clues on the orginal color of the dress
> versus the present color. The woman who was showing me through the
> exibit(included a small coffin made for a child who the physician pronounced
> doomed not to recover from scarlet fever, but did so--the child lived to a
> ripe old age and the family never used the coffin!)was interested in my
> comments on the gown's apparent color--it made me wonder if Chanel and other
> designers combining pink with black might have it's roots in the
> lilac/lavender of half-mourning either being more pink or turning pink over
> time, compared to how we presently view the colors lavender and lilac.
> 
> Cindy Abel
> 
> _______________________________________________
> 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 Dec 16 13:25:30 2003
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: Black was: Re: [h-cost] Another new topic
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Be aware that there seems to have been a dye problem affecting the
grey/purple/lavender range so that many of these earlier garments will
change color entirely over time. And also that some  lithos of the 19th C
were hand colored; probably at the mercy of the paint boxes of the
colorists. I have a crepe evening dress of the early 1940s that has gone
from dove grey to a general strong rose color to date. Also some of the
bolts of silk type fabrics, including velvet are well on their way to
becoming strongly pink.
If we can't trust the paints of the oil artists as giving authentic
coloration in the portraits we study so closely, or the photos we use for
identification of tone, I suspect the term purple, lavender, mauve and so
forth is always going to be in the mind's eye of the beholder.
Kathleen
----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 16, 2003 12:43 PM
Subject: RE: Black was: Re: [h-cost] Another new topic


>
>
>  I was re-reading my copy of "What Clothes Reveal: Clothing in the
Colonial
> Williamsburg Collection" and in the chapter covering clothing for bridal,
> maternity, children's and mourning wear, apparently there were rules and
> regs for mourning, at least going back into the 18th century; it didn't
> begin with Victoria. Widows, at least who could afford it, followed the
year
> and a day in full mourning(dull-finished fabrics with minimal trim and
> jewelry)unless they remarried. Then, depending on age(older widows were
> expected to remain in black indefinately, or at least in dark colors),
> mourning could move into stages towards full colors and patterned and
shiny
> fabrics. Interestingly the lilac popular for later mourning actually
appears
> more pink than purple-lavender in fashion plates I've seen quite often.
> About ten years ago, while visiting a museum in Rogers, Arkansas, a circa
> 1895 dress described as half-mourning was more a definate pinky-mauve,
> rather than lilac or lavender, although colors do change over time.
> Unforturnately, I certainly couldn't get permission to inspect the
> inner-seams or lining for more clues on the orginal color of the dress
> versus the present color. The woman who was showing me through the
> exibit(included a small coffin made for a child who the physician
pronounced
> doomed not to recover from scarlet fever, but did so--the child lived to a
> ripe old age and the family never used the coffin!)was interested in my
> comments on the gown's apparent color--it made me wonder if Chanel and
other
> designers combining pink with black might have it's roots in the
> lilac/lavender of half-mourning either being more pink or turning pink
over
> time, compared to how we presently view the colors lavender and lilac.
>
> Cindy Abel
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Subject: Re: Black was: Re: [h-cost] Another new topic
Date: Tue, 16 Dec 2003 13:50:35 -0500
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Re the development of Real pink, especially the shade later ascribed to
Scapparelli, but was available in the last quarter of the 19th C, I think
that it , like green, was one of the innovations of the discovery and use of
aniline dyes.
----- Original Message ----- 
From: "Lynn Downward" <LDownward@chori.org>
To: "h costume" <h-costume@indra.com>
Sent: Tuesday, December 16, 2003 1:18 PM
Subject: Re: Black was: Re: [h-cost] Another new topic


> You're probably right about the color. I'm not quibbling at all, but my
mind
> wandered a step off the specific topic and started thinking about
> practicalities.
>
> Unless she was quite young, what widow in her right mind would wear pink,
> which makes most of us old enough to be widows fade out into nothing?
Lilac
> is bad enough, but pink? I guess it depends on the pink, but I for one
can't
> wear pastels at all any more as I've faded into my 50's. My dark hair has
> lightened, not including the grey that's started growing there in the past
> few years and the skin isn't the clear peachy color it once was. Blacks,
> midnight blues, aubergine, burgundies, forest greens all work, but not the
> colors I wore in my 20's. And I can't imagine even a widow going along
with
> something that made them look unattractive just because that was the
> convention. Maybe at some point they'd decide to stay in the darker colors
> because they became more flattering.
>
> And
> Can you imagine being that child and knowing that you had been expected to
> die - and they kept the coffin? If the child didn't have a good feeling of
> self-worth, do you think they'd wonder if Pater and Mater were waiting for
> him/her to die even after s/he got better? That could certainly warp a
> child's view of life.
>
> Just thinking on a slow day at work...
> LynnD
>
>
> On 12/16/03 9:43 AM, "Cindy Abel" <brujne@creighton.edu> wrote:
>
> >
> >
> > I was re-reading my copy of "What Clothes Reveal: Clothing in the
Colonial
> > Williamsburg Collection" and in the chapter covering clothing for
bridal,
> > maternity, children's and mourning wear, apparently there were rules and
> > regs for mourning, at least going back into the 18th century; it didn't
> > begin with Victoria. Widows, at least who could afford it, followed the
year
> > and a day in full mourning(dull-finished fabrics with minimal trim and
> > jewelry)unless they remarried. Then, depending on age(older widows were
> > expected to remain in black indefinately, or at least in dark colors),
> > mourning could move into stages towards full colors and patterned and
shiny
> > fabrics. Interestingly the lilac popular for later mourning actually
appears
> > more pink than purple-lavender in fashion plates I've seen quite often.
> > About ten years ago, while visiting a museum in Rogers, Arkansas, a
circa
> > 1895 dress described as half-mourning was more a definate pinky-mauve,
> > rather than lilac or lavender, although colors do change over time.
> > Unforturnately, I certainly couldn't get permission to inspect the
> > inner-seams or lining for more clues on the orginal color of the dress
> > versus the present color. The woman who was showing me through the
> > exibit(included a small coffin made for a child who the physician
pronounced
> > doomed not to recover from scarlet fever, but did so--the child lived to
a
> > ripe old age and the family never used the coffin!)was interested in my
> > comments on the gown's apparent color--it made me wonder if Chanel and
other
> > designers combining pink with black might have it's roots in the
> > lilac/lavender of half-mourning either being more pink or turning pink
over
> > time, compared to how we presently view the colors lavender and lilac.
> >
> > Cindy Abel
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

_______________________________________________
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Subject: [h-cost] Heading down to Virginia Beach for the holidays...
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We'll be headed down Saturday and will be in town for about a week. I 
remember something about one or more of our listfolk being involved with 
one of the museums or restorations in Jamestown or Williamsburg?

Going back through the archives, it looks like there are a few temporary 
exhibits at the DeWitt Wallace museum I'd like to take in, and I'm trying 
to remember if there was anything else I needed to check into in advance of 
going south?



Brenda
webwarren@earthlink.net


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Althea,

What a beautiful photo of you and your daughter.  You should have that photo
made into a poster.  I love the stained glass windows.

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


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Keri-Anne,

I think your husband must be my husband's younger brother.  Your hubby looks
like my husband did in his younger, leaner years.

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


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Kayta,

We'll adopt you IF, and only if, you have gone through puberty!  We always
have room for people who love costumes and can sew.

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


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>Kayta,
>
>We'll adopt you IF, and only if, you have gone through puberty!  We always
>have room for people who love costumes and can sew.

Can I call you all Mommy?  One of my daughters is almost thru puberty, at 
age 19.5 , and the other one is right in the middle of it, at 15.5 .  I 
don't have physical custody.

On a much happier note, someone posted a picture of me at a Ren. Faire this 
year, with my drunkard doll on my shoulder and a faire-participant doll on 
my basket.  My family is either online, made of cloth, or at a Ren/Dickens' 
Faire these days.

http://www.loopedatfaire.com/2003/03cdf/page_27.htm
I'm the one second from the left in the bottom row, looking toward the 
drunkard doll on my left shoulder, carrying the basket and basket doll on 
my left arm.

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

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How wonderful to see your families!!!  I love putting faces with people too!
It is also fun to see your pets... since we talk about their love of our
sewing areas so much.

We take our family portrait every year on Thanksgiving, so it can go in our
Christmas letter.  The older members of our family love to see how the kids
grow each year.  This is the second year Daniel has missed the family
photo... last year we took it at church after Mass. Daniel showed up at the
wrong mass.  So the arrows to old photos is a joke on him.  The other joke
is that when Daniel was 10 years old, we went three times to take our photo.
Once the photographer completely cut Daniel out of the photo!  The third
attempt, we came home in a blizzard from the photographer.  When we received
the photo... Daniel (trying to stand on tip-toes to be taller than Ben), had
his arm out to balance.  Lo and behold... Daniel was flipping the
bird!!!!!!!!  This old family portrait is an 11" X 13" and is on the wall in
this year's portrait hidden behind the boys.  LOL!!!  I had the bird photo's
matte cut to not show Daniel's hand in the photo.  Of course, when people
visit and look at the portrait wall, the kids' love to point out Daniel's
missing hand in the photo.

Here are two more photos to share.  This is of the theater tech's at the
kids' high school play, Children of Eden, in November.  Their school was one
of five schools chosen to perform this year at the Carpenter Center for the
Performing Arts.  The idea was to give the high school students a chance to
perform and work in a professional theater.
http://www.costumegallery.com/Pat/Eden/tech1b.jpg
http://www.costumegallery.com/Pat/Eden/tech2a.jpg
Pat is on the far right and Sam is holding the light-colored t-shirt.  There
were a lot more techs for the show, but these were the ones left to load the
trucks. (See Mike T., I didn't call them techies!)

If you want to see what the Carpenter Center looks like inside, go to:
http://www.carpentercenter.org/75years.html  It was built in 1928, and looks
like the ceiling is outside but isn't. This was a popular style of building
theaters at the time.  The place is so ornate with art deco style.  BTW, the
ceiling has lights that twinkle like stars.  Needless to say, the kids were
thrilled to perform in the theater.

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


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on 12/16/03 2:00 PM, h-costume-request@indra.com at
h-costume-request@indra.com wrote:

> Unless she was quite young, what widow in her right mind would wear pink,
> which makes most of us old enough to be widows fade out into nothing? Lilac
> is bad enough, but pink? I guess it depends on the pink, but I for one can't
> wear pastels at all any more as I've faded into my 50's. My dark hair has
> lightened, not including the grey that's started growing there in the past
> few years and the skin isn't the clear peachy color it once was. Blacks,
> midnight blues, aubergine, burgundies, forest greens all work, but not the
> colors I wore in my 20's. And I can't imagine even a widow going along with
> something that made them look unattractive just because that was the
> convention.

Lynn: I look horrible in black, as do many people I know. But that didn't
stop black from becoming "the" permanent mourning color!

Gail Finke


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Date: Tue, 16 Dec 2003 14:54:16 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] A New Tradition
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What cute little dolls, Kayta! How long have you been doing them now?
Albra

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

>Kayta,
>
>We'll adopt you IF, and only if, you have gone through puberty! We always
>have room for people who love costumes and can sew.

Can I call you all Mommy? One of my daughters is almost thru puberty, at 
age 19.5 , and the other one is right in the middle of it, at 15.5 . I 
don't have physical custody.

On a much happier note, someone posted a picture of me at a Ren. Faire this 
year, with my drunkard doll on my shoulder and a faire-participant doll on 
my basket. My family is either online, made of cloth, or at a Ren/Dickens' 
Faire these days.

http://www.loopedatfaire.com/2003/03cdf/page_27.htm
I'm the one second from the left in the bottom row, looking toward the 
drunkard doll on my left shoulder, carrying the basket and basket doll on 
my left arm.

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

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

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From h-costume-bounces@indra.com  Tue Dec 16 17:56:03 2003
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Subject: Re: [h-cost] Re: h-costume Digest, Vol 2, Issue 852
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I don't think that people from the other time periods focused on how they
looked in "Mourning". It was central to the idea of showing grief.  After
all, in Biblical times, how often does one worry about how one looked in
'sack cloth and ashes'?
----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Tuesday, December 16, 2003 4:49 PM
Subject: [h-cost] Re: h-costume Digest, Vol 2, Issue 852


> on 12/16/03 2:00 PM, h-costume-request@indra.com at
> h-costume-request@indra.com wrote:
>
> > Unless she was quite young, what widow in her right mind would wear
pink,
> > which makes most of us old enough to be widows fade out into nothing?
Lilac
> > is bad enough, but pink? I guess it depends on the pink, but I for one
can't
> > wear pastels at all any more as I've faded into my 50's. My dark hair
has
> > lightened, not including the grey that's started growing there in the
past
> > few years and the skin isn't the clear peachy color it once was. Blacks,
> > midnight blues, aubergine, burgundies, forest greens all work, but not
the
> > colors I wore in my 20's. And I can't imagine even a widow going along
with
> > something that made them look unattractive just because that was the
> > convention.
>
> Lynn: I look horrible in black, as do many people I know. But that didn't
> stop black from becoming "the" permanent mourning color!
>
> Gail Finke
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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I received this in an email advertisement from Amazon:

http://www.amazon.com/exec/obidos/ASIN/0521341078/ref%3Dpe%5Fsnp%5F078/104-1192753-2531963

I feel like I've heard of this book before, though the
publication date is October 2003.



Claudine

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Subject: Re: [h-cost] A New Tradition
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Yes, what a pity we can't get 'the Kids' to co-operate for 'dress-up' :(
Albra

Teena Paradise <bkessinger@ureach.com> wrote:

----- Original Message ----- 
From: "KATHRYN WOLTERS" 
To: "Historical Costume" 
Sent: Tuesday, December 16, 2003 11:05 AM
Subject: Re: [h-cost] A New Tradition


> Very cute 'Kids' you have Teena:) do you ever try dressing them for the
'Holidays'?
> Albra
> (who tried to get her cat, Bella, to sit still with reindeer antlers and
elizabethean ruff--for the family holiday pic----to no avail)
>

I would love to! In fact, I have toyed with putting medieval barding on
them.... but it wouldn't work. The male (the black one) is very stoic and
would bear it with dignity, but the female (the dapple) might last about 6.3
seconds before she ripped it to shreds.

Teena

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On Tue, 16 Dec 2003, Claudine Wong wrote:

> I received this in an email advertisement from Amazon:
> 
> http://www.amazon.com/exec/obidos/ASIN/0521341078/ref%3Dpe%5Fsnp%5F078/104-1192753-2531963
> 
> I feel like I've heard of this book before, though the
> publication date is October 2003.

It's been talked up for a long time. There were flyers for it, but no
copies, at K'zoo in May 2003. An English colleague of mine who contributed
saw it in the flesh around October, so that sounds right. I got a call
about it from the American-side publicist for Cambridge around that time,
too, but I haven't seen my promised review copy yet.

--Robin

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From: "Ron Carnegie" <r.carnegie@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Heading down to Virginia Beach for the holidays...
Date: Tue, 16 Dec 2003 19:55:42 -0500
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Hello,

    I am one of these listfolk here in Williamsburg, and involved with
Colonial Williamsburg and The Jamestown Settlement.

	I suspect that one of the exhibits you mean (if not one you will want to
see if it is still up) is The Language of Clothing at the Dewitt Wallace
museum.  It is also the Christmas season which means a lot of beautiful
though not period christmas decorations.  The materials are period however.
This can also mean crowds however.  Christmas ii usually one of the most
crowded times of the year at CW.  The christmas season also means little
mini illuminations, Christmas guns, Caroling etc, so you might want to
consider coming out at night.  If you are still here the following weekend
there is "Sorry Wrong Chiminy".  This is a Christmas Farce which is light
entertainment and while being rather silly and of little real social value
it does happen to include myself!

     Historic Jamestown has little to offer currently as exhibits go.  They
do have the original foundations of first settlement building and of course
the Archealogical work on the original fort site, but Isabel has caused the
prmature destruction of their visitor center and its exhibits.  Jamestowne
settlement on the other hand has it's living hisotry programming up, but
again it's conventional galleries are closed.  They are all being rebuilt
and redesigned for the 2007 event.

Cheers,
Ron

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Brenda Bell
> Sent: Tuesday, December 16, 2003 2:01 PM
> To: h-costume@indra.com
> Subject: [h-cost] Heading down to Virginia Beach for the holidays...
>
>
> We'll be headed down Saturday and will be in town for about a week. I
> remember something about one or more of our listfolk being involved with
> one of the museums or restorations in Jamestown or Williamsburg?
>
> Going back through the archives, it looks like there are a few temporary
> exhibits at the DeWitt Wallace museum I'd like to take in, and I'm trying
> to remember if there was anything else I needed to check into in
> advance of
> going south?
>
>
>
> Brenda
> webwarren@earthlink.net
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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In addition to the "color change over time" aspect, also remember that 
gaslight shifted visible colors as well.   At the Cincinnati Art Museum, 
I saw a gown described as "red" that was a sickly orange under 
fluorescent lighting.  When "properly" lit and photographed in the 
catalogue, it was a lovely flame red.

Wendy Z
eating X-mas cookies in
Chicago, IL

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From h-costume-bounces@indra.com  Tue Dec 16 20:16:39 2003
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From: Lavolta Press <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Cambridge History of Western Textiles
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I bought _The Cambridge History of Western Textiles_ when it came out, 
which was a couple months ago if I recall.  I haven't read it thoroughly 
yet, and given its size and my current commitments it will be awhile 
before I do.  So my comments here are broad and off the cuff. 

It's big and weighs like several bricks.  It is an anthology of 
scholarly essays, rather than a history to be read through 
continuously.  It focuses on textiles, not primarily on clothing. It 
struck me as strongest for pre-20th-century and even pre-19th-century 
eras.  It's solid stuff--this is not a beginner introduction.  I am very 
pleased with it, but I think it's not a necessity for every costumer.  I 
do think it's a necessity for many libraries, though.

Anyway, if anyone is worried about ordering a book that may not exist, 
it has indeed been published.

Fran

Robin Netherton wrote:

>On Tue, 16 Dec 2003, Claudine Wong wrote:
>  
>
>It's been talked up for a long time. There were flyers for it, but no
>copies, at K'zoo in May 2003. An English colleague of mine who contributed
>saw it in the flesh around October, so that sounds right. 
>
----------------------------------
Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Hey, Althea! Like the matching/coordinating outfits! Is the trim green,
or is that just my monitor?
--sue

Cynthia Virtue wrote:
> 
> Althea Turner wrote:
> > Happy Holidays, everyone!!
> >
> > This is a picture of me and me daughter taken a couple weeks ago at the
> > Feast of Epimetheus.
> > http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.
> 
> Somehow the .jpg fell off the URL.
> 
>  > http://www.alfalfapress.com/sca/EPIMETHEUS/SofiaandNatali.jpg
> 
> --
> Cynthia Virtue and/or
> Cynthia du Pré Argent
> 
> John Henry said to the Captain, "By God, I ain't no fool!  Before I die
> with a hammer in my hand, I'm gonna get me a steam drill too, Lord,
> Lord; get me a steam drill too!"  -- Smothers Brothers song
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Cool! You're from Avacal (Avacal *rocks*!)
'Course, the husband's cute, too, even without yummy hair!
--sue, who sometimes can be found in a place called "Artemisia"

Keri-Anne Lawton wrote:
> 
> Here’s a better link for the last picture.
> http://www.chainmailstore.com/mw/images/People/Phalen%20Gann[1].jpg
> 
> Cheers
> Keri-Anne
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Sheridan & Shane
> Sent: December 16, 2003 10:15 AM
> To: Historical Costume
> Subject: Re: [h-cost] A New Tradition
> 
> I'll play! :-)
> 
> I agree, its nice to put faces to names. I don't have a website as of
> yet,
> still working on getting a digital camera or a scanner, but I do have
> some
> of my dance pictures. This was taken in the spring at my troupe's
> bi-annual
> show:
> 
> http://www.dancegypt.com/images/Galleries/Dance_Caravan_03/Caravan%20200
> 3%20
> 060.jpg
> 
> This costume was a devil to fit, I bought it from a lady who travels
> often
> to Egypt and brings back costumes for all of her dancer friends. When
> they
> made this one, I really don't think they had a human body in mind. :-)
> Now I
> just make all of my own, it takes less time than trying to properly fit
> 'one
> size' costumes.
> 
> Here's the Troupe, I'm on the bottom left (ooo, pasty white....)
> http://www.dancegypt.com/index.htm
> 
> This one is of my hubby, it was taken the day after he cut off  his
> waist
> length hair, about 4 years ago:
> 
> http://www.chainmailstore.com/mw/Main.htm
> 
> Unfortunately, I don't have any pictures of us in our good costumes, I'm
> working on changing that this year as I finally have some outfits I want
> to
> show off. :-)
> 
> Sheridan
> 
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Penny, can we go back through puberty to a second childhood?
--sue

Penny Ladnier wrote:
> 
> Kayta,
> 
> We'll adopt you IF, and only if, you have gone through puberty!  We always
> have room for people who love costumes and can sew.
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
> 
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: Black was: Re: [h-cost] Another new topic
Date: Tue, 16 Dec 2003 23:27:36 -0500
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On Tuesday 16 December 2003 09:03 am, Kate M Bunting wrote:
> I've not heard of the altar being curtained off, but in some Anglican
> churches it is stripped during the Maundy Thursday service and left as a
> bare table until it is dressed for Easter morning. Apparently this is an
> ancient tradition.

Yes, stripping the altar is standard Roman Catholic practice; they did it in 
my parish church.

They would also cover all the permanent images in the church with special 
purple covers--particularly the large crucifix that hung over the altar--at 
the same time.

-- 
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] Heading down to Virginia Beach for the holidays...
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Ron,

It breaks my heart to know that Jamestown took a hard hit from Isabel.  I
haven't heard from you since the hurricane hit and was worried about how
much damage you all took.  It is so sad to drive around and still see the
200 year old tree stumps and debris everywhere.  Byrd Park in Richmond is
still such a mess. They lost over 200 trees. Monument Ave. is now cleaned
up.  The Virginia House grounds also took some damage.  The house is open
but the grounds are closed.  I have been to Agecroft since the hurricane.
Some big trees went down but the house and grounds are open.

We have been worried about a nice state park on the Eastern Shore faired
through the storm.  I think the name of it is Kiptopeke. We were there over
Labor Day weekend and really enjoyed it.  We checked their website and it
hasn't been updated.  So many of the nice state parks have been shut down
without a date of when they are re-opening.

Did you guys feel the earthquake last week?

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


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<<glaring at Sue>>  You behave or I will have you doing windows or ripping
seams.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 16, 2003 9:58 PM
Subject: Re: [h-cost] A New Tradition


> Penny, can we go back through puberty to a second childhood?
> --sue


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   Black is the colour of mourning in the 18th century, and there are
complicated rules regarding it then, though I do not know when they begin.
In fact the first Continental Congress retricted some of it with the 8th
article of the Association passed in October of 1774.

Cheers,
Ron

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Sarah Goodman-Rodriguez
> Sent: Friday, December 12, 2003 6:14 PM
> To: Historical Costume
> Subject: [h-cost] Re: Black
>
>
> The rumor I've heard is that black was established as the color of
> mourning after Queen Victoria took to wearing it in her widowhood.
> Certianly, the Victorian era is when you start seeing all the
> elaborate rules of mourning cropping up, such as how much black you
> are required to wear in relation to the deceased, how long, what type
> of fabric, etc.
>
> This is completely unsubstaniated by research on my part, however.  ;)
>
> Sarah
> http://www.modehistorique.com
>
> http://mail.indra.com/mailman/listinfo/h-costume

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I recently put some fashion reports online for 1856 and it mentions black
for mourning.  I thought it was funny that it mentions when one slowly comes
out of mourning, it was suggested to use pink and black combinations.

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


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From h-costume-bounces@indra.com  Wed Dec 17 00:01:59 2003
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A New Tradition
Date: Wed, 17 Dec 2003 00:02:14 -0500
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On Tuesday 16 December 2003 09:57 am, Kate M Bunting wrote:
> I'm STILL waiting for our music group's website to get off the ground so
> I can direct people to some pictures of me online. It's been in the
> pipeline for a year and more. I'm afraid I haven't any other means of
> making pictures available.
> I've met Stevie, Jean Waddie, Nicole K. and former listmembers Henk and
> Teddy.

I don't have a web page yet, either (I'm getting closer to it, though).  

Nor am I overly blessed with family, at this point.  I'm a childless only 
child, my parents and grandparents are all dead, and my remaining blood 
relatives are all cousins I'm not terribly close to.  

My husband has lots of family, but I don't know if there are pictures of any 
of them on the web.  I wanted to send you all the URL for a photo of my 
husband and me that he used to have on his website, but he must have taken it 
down or moved it when he revamped the site a few months ago.

However, he did post a picture of me recently on his blog.  This photo was 
taken by a mutual friend about 5 years ago:

http://esr.ibiblio.org/graphics/cathy-red.jpg

-- 
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 Dec 17 00:17:47 2003
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: [h-cost] Corset Stays - Did they ever use whalebone and in BONE?
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Hi folks and happy holidays to all of you!

I bought myself an early present and picked up a baleen frond from ebay for my tailors shop.  Anyone who wants to see a pic can see it at http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3259894443&category=372&rd=1 .  BTW -  I think there is enough baleen on the market from legal eskimo whaling if anyone wanted to make a museum quality reproduction corset but I don't know if one has to cut it while it is still fresh or not.  Has anyone ever seen a demonstration of how to cut baleen for corset strips?

Something puzzles me though. There is another item listed as "4 Victorian Whalebone Scrimshaw Corset Stays" found at 
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2581618065&category=12  and these really look like and are described as BONE.  At only 6 inches they are too short for a busk but don't look flexible at all?  Any one with opinions on this one?  Just where would these BONES fit on a Victorian corset or is there some error here.

Ever interested....

Lisa Sinervo

www.thrednedlestrete.com
www.maninthemoone.com



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From h-costume-bounces@indra.com  Wed Dec 17 04:20:55 2003
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Corset Stays - Did they ever use whalebone and in BONE?
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>Something puzzles me though. There is another item listed as "4 Victorian 
>Whalebone Scrimshaw Corset Stays" found at
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2581618065&category=12 
>and these really look like and are described as BONE.  At only 6 inches 
>they are too short for a busk but don't look flexible at all?  Any one 
>with opinions on this one?  Just where would these BONES fit on a 
>Victorian corset or is there some error here.

They're called bones alright, and they are used in pairs as percussion 
instruments, like spoons are.


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

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From h-costume-bounces@indra.com  Wed Dec 17 04:21:46 2003
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] A New Tradition
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>What cute little dolls, Kayta! How long have you been doing them now?

I've been making dolls for decades now, but this pattern is about two years 
old.  Both the dolls in the picture are from the same pattern.  See more on 
my website www.funstuft.com (the first doll image that comes up shows dolls 
in three historical periods of underwear, getting ready for some costumed 
event).

>My family is either online, made of cloth, or at a Ren/Dickens'
>Faire these days.




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

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Subject: [h-cost] Victorian Mantel pictures :-)
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Hi,

Thanks!!!!! To everyone who helped me with this costume!!
I just finished the mantel and took some pictures.
http://www.deredere.dds.nl/Victorian/Victorian.html

Greetings,
        Deredere


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Victorian Mantel pictures :-)
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The mantel is lovely Deredere!What is the fabric that you used for it?(can't quite tell from the photo)
Albra

Deredere Galbraith <triade@kabelfoon.nl> wrote:
Hi,

Thanks!!!!! To everyone who helped me with this costume!!
I just finished the mantel and took some pictures.
http://www.deredere.dds.nl/Victorian/Victorian.html

Greetings,
Deredere


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S'okay, Mom! <weg> I'm actually really good at ripping seams, as long as
you let me use a single-edge razor blade.
--sue, who sometimes thinks that she bumped up against adolescence and
just ran, screaming (I still like to do thing like stomp frozen mud
puddles ;o)

Penny Ladnier wrote:
> 
> <<glaring at Sue>>  You behave or I will have you doing windows or ripping
> seams.
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
> ----- Original Message -----
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, December 16, 2003 9:58 PM
> Subject: Re: [h-cost] A New Tradition
> 
> > Penny, can we go back through puberty to a second childhood?
> > --sue
> 
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners (http://www.plugit.com)]
> 
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Cambridge History of Western Textiles
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Thanks, Fran.  What's the price range for it, if I may ask?
--sue, adding something more to her "after I pay for the loom" list....

Lavolta Press wrote:
> 
> I bought _The Cambridge History of Western Textiles_ when it came out,
> which was a couple months ago if I recall.  I haven't read it thoroughly
> yet, and given its size and my current commitments it will be awhile
> before I do.  So my comments here are broad and off the cuff.
> 
> It's big and weighs like several bricks.  It is an anthology of
> scholarly essays, rather than a history to be read through
> continuously.  It focuses on textiles, not primarily on clothing. It
> struck me as strongest for pre-20th-century and even pre-19th-century
> eras.  It's solid stuff--this is not a beginner introduction.  I am very
> pleased with it, but I think it's not a necessity for every costumer.  I
> do think it's a necessity for many libraries, though.
> 
> Anyway, if anyone is worried about ordering a book that may not exist,
> it has indeed been published.
> 
> Fran
> 
> Robin Netherton wrote:
> 
> >On Tue, 16 Dec 2003, Claudine Wong wrote:
> >
> >
> >It's been talked up for a long time. There were flyers for it, but no
> >copies, at K'zoo in May 2003. An English colleague of mine who contributed
> >saw it in the flesh around October, so that sounds right.
> >
> ----------------------------------
> Books on Historic Costuming
> http://www.lavoltapress.com
> Historic and Vintage Dance
> http://www.lavoltapress.com/dance
> 
> _______________________________________________
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Nice idea Penny!  And a lovely family you have too.  Pictures always help me
work out who is who.  With names every one sharing the same name becomes a
composite character to me!  The best I can do for a photo at the moment is a
scan of my driver's license and my son's school photo.  Anyone interested
can find them at http://www.thrednedlestrete.com/bulletinboard.htm

Lisa Sinervo



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Subject: Scalpels for Ripping out seams - Re: [h-cost] A New Tradition
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Sue wrote:

> S'okay, Mom! <weg> I'm actually really good at ripping seams, as long as
> you let me use a single-edge razor blade.

I know a few folks who us scalpels for ripping out seam in a snap.  You can
get them at www.valleyvet.com for less than a dollar.  I'm definetly going
to try this method out!

Lisa Sinervo
www.thrednedlestrete.com
www.maninthemoone.com



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Hi Brenda!

Right now the Chrysler Museum in Norfolk is having an exhibition of Flemish and Dutch masters.
Hurry though, it ends Dec. 31st.  See their website for more info:
http://www.chrysler.org/

I'd love to invite you over for an afternoon of costume schmoozing, but we had a fire in the
kitchen last week, and well, frankly the place looks like a bomb went off. The restoration company
will be here tomorrow through next week to clean things up. We're all fine, all people, dogs, books
and fabric are accounted for. Can't say as much for the stove or the walls, however.  The truly
ironic part is that that on Saturday I made the comment that next tax-refund we should get a new
stove, as this one wasn't working very well. Eight hours later, there it went.

Enjoy your vacation, there's a lot to do here.

::Linda::
Virginia Beach, Va. 

 You can't always judge by appearances: 
the early bird may have been up all night.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of Brenda Bell
Sent: Tuesday, December 16, 2003 2:01 PM
To: h-costume@indra.com
Subject: [h-cost] Heading down to Virginia Beach for the holidays...

We'll be headed down Saturday and will be in town for about a week. I 
remember something about one or more of our listfolk being involved with 
one of the museums or restorations in Jamestown or Williamsburg?

Going back through the archives, it looks like there are a few temporary 
exhibits at the DeWitt Wallace museum I'd like to take in, and I'm trying 
to remember if there was anything else I needed to check into in advance of 
going south?

Brenda
webwarren@earthlink.net




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Subject: Re: [h-cost] Victorian Mantel pictures :-)
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Thanks!
It is wool and satin ribbons.

KATHRYN WOLTERS wrote:

>The mantel is lovely Deredere!What is the fabric that you used for it?(can't quite tell from the photo)
>Albra
>
>Deredere Galbraith <triade@kabelfoon.nl> wrote:
>Hi,
>
>Thanks!!!!! To everyone who helped me with this costume!!
>I just finished the mantel and took some pictures.
>http://www.deredere.dds.nl/Victorian/Victorian.html
>
>Greetings,
>Deredere
>
>
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>  
>



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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] To line or not to line
To: Historical Costume <h-costume@indra.com>
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Personally, I would opt for lining the gown. Clothing  generally  seems to wear better with a lining. And especially if that section is going to be trailing on the ground.
Albra
(who is sewing in a 'hem guard', as well as lining, along  the bottom of her newest  mohagoney colored silk Italian )

Cyn Bucheger <cbucheger@paclp.com> wrote:
A few years ago I had made my version of the 1495 Durer's Venetian Lady
ensemble. I used $1 a yard fabric from Wal-Mart and thrift store finds just
so I could try out a style that is far from the more tailor Elizabethan
looks that I usually do. It was just one of those things that everything
worked so well, that the ensemble has seen a lot of use and generated a lot
of positive comments even though the fabric was mostly man made stuff. It
just all had the right weight and drape and worked.

Now I am remaking this ensemble in better fabrics. The underdress is of a
light weight black wool. The over dress is going to be of a silk brocaded
fabric, one of the Russian ecclesiastic patterns in black and silver. The
original had the brocade as the underdress, and the solid color fabric as
the overdress(as far as one can tell from the water color), but the quantity
of the fabric on hand and the hand of the fabrics dictate that the brocade
be the outer garment.

My quandary comes in that letting $1 a yard fabric drag on the ground and be
stepped on occasionally by other people was not a big deal. I'm having
trouble with the idea of letting that fabric that came all the way from
Russia, just for me, drag and be stepped on. The structure of the fabric is
pretty sturdy, it's not a terribly delicate weaving, but still... should I
line the train or not? I have a bit of black linen on hand that I could
use, that would be relatively unobtrusive when the train is held, as it will
frequently be, but there are times when it will be down... And if I line,
how far up should I go? I was hoping to make this all out of stash fabric
and I don't have that much of the linen on hand...

Cyn


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Victorian Mantel pictures :-)
To: Historical Costume <h-costume@indra.com>
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Very nicely done:)
Albra

Deredere Galbraith <triade@kabelfoon.nl> wrote:
Thanks!
It is wool and satin ribbons.

KATHRYN WOLTERS wrote:

>The mantel is lovely Deredere!What is the fabric that you used for it?(can't quite tell from the photo)
>Albra
>
>Deredere Galbraith wrote:
>Hi,
>
>Thanks!!!!! To everyone who helped me with this costume!!
>I just finished the mantel and took some pictures.
>http://www.deredere.dds.nl/Victorian/Victorian.html
>
>Greetings,
>Deredere
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>---------------------------------
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>New Yahoo! Photos - easier uploading and sharing
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>
> 
>



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From: Heather Meadows <alice@wonderland.com>
Subject: Re: Scalpels for Ripping out seams - Re: [h-cost] A New Tradition
Date: Wed, 17 Dec 2003 09:03:27 -0800
To: Historical Costume <h-costume@indra.com>
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I'm not the only one! yay!

They looked at me like I was insane at work when I pulled out a single 
edge blade for ripping.


On Dec 17, 2003, at 7:18 AM, Lisa Sinervo wrote:

> Sue wrote:
>
>> S'okay, Mom! <weg> I'm actually really good at ripping seams, as long 
>> as
>> you let me use a single-edge razor blade.
>

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Subject: Re: [h-cost] To line or not to line
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I agree with Albra--I'd tend to want to line the expensive fabric, as
well.  You should be able to figure out the sewing bit so that you could
replace the lining if it got too nasty.
You could also put in one of those fringe-things that show up in at
least one of the skirts in Arnold's _Patterns of Fashion_.  Oh, wait,
that might be what Albra is referring to as a "hem guard."
--sue, getting herself confused here ;o)

KATHRYN WOLTERS wrote:
> 
> Personally, I would opt for lining the gown. Clothing  generally  seems to wear better with a lining. And especially if that section is going to be trailing on the ground.
> Albra
> (who is sewing in a 'hem guard', as well as lining, along  the bottom of her newest  mohagoney colored silk Italian )
> 
> Cyn Bucheger <cbucheger@paclp.com> wrote:
> A few years ago I had made my version of the 1495 Durer's Venetian Lady
> ensemble. I used $1 a yard fabric from Wal-Mart and thrift store finds just
> so I could try out a style that is far from the more tailor Elizabethan
> looks that I usually do. It was just one of those things that everything
> worked so well, that the ensemble has seen a lot of use and generated a lot
> of positive comments even though the fabric was mostly man made stuff. It
> just all had the right weight and drape and worked.
> 
> Now I am remaking this ensemble in better fabrics. The underdress is of a
> light weight black wool. The over dress is going to be of a silk brocaded
> fabric, one of the Russian ecclesiastic patterns in black and silver. The
> original had the brocade as the underdress, and the solid color fabric as
> the overdress(as far as one can tell from the water color), but the quantity
> of the fabric on hand and the hand of the fabrics dictate that the brocade
> be the outer garment.
> 
> My quandary comes in that letting $1 a yard fabric drag on the ground and be
> stepped on occasionally by other people was not a big deal. I'm having
> trouble with the idea of letting that fabric that came all the way from
> Russia, just for me, drag and be stepped on. The structure of the fabric is
> pretty sturdy, it's not a terribly delicate weaving, but still... should I
> line the train or not? I have a bit of black linen on hand that I could
> use, that would be relatively unobtrusive when the train is held, as it will
> frequently be, but there are times when it will be down... And if I line,
> how far up should I go? I was hoping to make this all out of stash fabric
> and I don't have that much of the linen on hand...
> 
> Cyn
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> ---------------------------------
> Do you Yahoo!?
> New Yahoo! Photos - easier uploading and sharing
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> My quandary comes in that letting $1 a yard fabric drag on the ground
> and be stepped on occasionally by other people was not a big deal. 
> I'm having trouble with the idea of letting that fabric that came all
> the way from Russia, just for me, drag and be stepped on.  The
> structure of the fabric is pretty sturdy, it's not a terribly delicate
> weaving, but still... should I line the train or not?  I have a bit of
> black linen on hand that I could use, that would be relatively
> unobtrusive when the train is held, as it will frequently be, but
> there are times when it will be down... And if I line, how far up
> should I go?  I was hoping to make this all out of stash fabric and I
> don't have that much of the linen on hand...

If the fabric needs to be supported or the back of it protected from 
snags, you'd want to *interline* the whole thing. (Sew the fashion 
fabric and "lining" fabric as one.)

If you want to just protect the hem area where it touches the floor 
from drag wear as well as making it look nice if the edge is pulled 
up, then you can *face* the hem and train area. (Have the lower edge 
sewn and have the fabric go up as far as you need it to so that if 
you lifted the hem you would only see the facing.)

If you want to improve the hang of the garment or protect the seams 
from wear, then you would *line* it. (A separate fabric is sewn into 
the dress which is cut so that it is similar to the fashion fabric 
but perhaps with expansion vents or sometimes with padding 
padstitched in areas to make them look smoother.)

Each way of doing it has a different purpose. Black linen would be 
appropriate for each of the purposes mentioned.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] To line or not to line
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A few years ago I had made my version of the 1495 Durer's Venetian Lady
ensemble.  I used $1 a yard fabric from Wal-Mart and thrift store finds just
so I could try out a style that is far from the more tailor Elizabethan
looks that I usually do.  It was just one of those things that everything
worked so well, that the ensemble has seen a lot of use and generated a lot
of positive comments even though the fabric was mostly man made stuff.  It
just all had the right weight and drape and worked.

Now I am remaking this ensemble in better fabrics.  The underdress is of a
light weight black wool.  The over dress is going to be of a silk brocaded
fabric, one of the Russian ecclesiastic patterns in black and silver.  The
original had the brocade as the underdress, and the solid color fabric as
the overdress(as far as one can tell from the water color), but the quantity
of the fabric on hand and the hand of the fabrics dictate that the brocade
be the outer garment.

My quandary comes in that letting $1 a yard fabric drag on the ground and be
stepped on occasionally by other people was not a big deal.  I'm having
trouble with the idea of letting that fabric that came all the way from
Russia, just for me, drag and be stepped on.  The structure of the fabric is
pretty sturdy, it's not a terribly delicate weaving, but still... should I
line the train or not?  I have a bit of black linen on hand that I could
use, that would be relatively unobtrusive when the train is held, as it will
frequently be, but there are times when it will be down... And if I line,
how far up should I go?  I was hoping to make this all out of stash fabric
and I don't have that much of the linen on hand...

Cyn


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] To line or not to line
To: Historical Costume <h-costume@indra.com>
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It's sort of the same idea, Sue--although I usually make my 'hem gaurd'  more  like a slightly stiff , broader, bias cut facing that gets sewn along the base of the hem--and  slip stitched to the lining on the other side. It then can easilly be replaced later when it gets too worn. 
Albra  

Sue Clemenger <mooncat@in-tch.com> wrote:
I agree with Albra--I'd tend to want to line the expensive fabric, as
well. You should be able to figure out the sewing bit so that you could
replace the lining if it got too nasty.
You could also put in one of those fringe-things that show up in at
least one of the skirts in Arnold's _Patterns of Fashion_. Oh, wait,
that might be what Albra is referring to as a "hem guard."
--sue, getting herself confused here ;o)

KATHRYN WOLTERS wrote:
> 
> Personally, I would opt for lining the gown. Clothing generally seems to wear better with a lining. And especially if that section is going to be trailing on the ground.
> Albra
> (who is sewing in a 'hem guard', as well as lining, along the bottom of her newest mohagoney colored silk Italian )
> 
> Cyn Bucheger wrote:
> A few years ago I had made my version of the 1495 Durer's Venetian Lady
> ensemble. I used $1 a yard fabric from Wal-Mart and thrift store finds just
> so I could try out a style that is far from the more tailor Elizabethan
> looks that I usually do. It was just one of those things that everything
> worked so well, that the ensemble has seen a lot of use and generated a lot
> of positive comments even though the fabric was mostly man made stuff. It
> just all had the right weight and drape and worked.
> 
> Now I am remaking this ensemble in better fabrics. The underdress is of a
> light weight black wool. The over dress is going to be of a silk brocaded
> fabric, one of the Russian ecclesiastic patterns in black and silver. The
> original had the brocade as the underdress, and the solid color fabric as
> the overdress(as far as one can tell from the water color), but the quantity
> of the fabric on hand and the hand of the fabrics dictate that the brocade
> be the outer garment.
> 
> My quandary comes in that letting $1 a yard fabric drag on the ground and be
> stepped on occasionally by other people was not a big deal. I'm having
> trouble with the idea of letting that fabric that came all the way from
> Russia, just for me, drag and be stepped on. The structure of the fabric is
> pretty sturdy, it's not a terribly delicate weaving, but still... should I
> line the train or not? I have a bit of black linen on hand that I could
> use, that would be relatively unobtrusive when the train is held, as it will
> frequently be, but there are times when it will be down... And if I line,
> how far up should I go? I was hoping to make this all out of stash fabric
> and I don't have that much of the linen on hand...
> 
> Cyn
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
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Subject: Re: [h-cost] The Cambridge History of Western Textiles
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Your best bet is to search www.addall.com for price comparisons in 
online bookstores.

Best,

Fran

Sue Clemenger wrote:

>Thanks, Fran.  What's the price range for it, if I may ask?
>--sue, adding something more to her "after I pay for the loom" list....
>
>  
>
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http://www.lavoltapress.com/dance


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	from alice@wonderland.com on Wed, 17 Dec 2003 09:03:27 -0800
Cc: 
Subject: [h-cost] re: Scalpels for Ripping out seams
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I use a single-edge razor, too, but a scalpel sounds like a great idea, since it has a handle!

Margretta

> Heather Meadows <alice@wonderland.com> wrote:
> 
> I'm not the only one! yay!
 
 They looked at me like I was insane at work when I pulled out a single 
 edge blade for ripping.
 
 
 On Dec 17, 2003, at 7:18 AM, Lisa Sinervo wrote:
 
 > Sue wrote:
 >
 >> S'okay, Mom! <weg> I'm actually really good at ripping seams, as long 
 >> as
 >> you let me use a single-edge razor blade.
 >
 
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From: "KATHRYN WOLTERS" <albrakat7@yahoo.com>


> Personally, I would opt for lining the gown. Clothing  generally  seems to
wear better with a lining. And especially if that section is going to be
trailing on the ground.
> Albra
> (who is sewing in a 'hem guard', as well as lining, along  the bottom of
her newest  mohagoney colored silk Italian )

I have to agree with you here. Unlined clothing, unless it's really, really
thick fabric or meant to be worn this way, often looks flimsy if it's not
lined.
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Date: Wed, 17 Dec 2003 10:33:06 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: Scalpels for Ripping out seams - Re: [h-cost] A New
  Tradition
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>I'm not the only one! yay!
>
>They looked at me like I was insane at work when I pulled out a single 
>edge blade for ripping.

>S'okay, Mom! <weg> I'm actually really good at ripping seams, as long as
>>>you let me use a single-edge razor blade.

Mine had this wicked-looking curved blade - nothing you can take on an 
airplane.  But it comes to this tiny little point at the end, which is just 
the thing for getting at those recalcitrant tiny little stitches.

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

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Subject: Re: [h-cost] To line or not to line
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I thought that interlining was putting another layer or layers of fabric
between the fashion fabric and the lining. Learn something new every day! :)
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 17, 2003 12:05 PM
Subject: Re: [h-cost] To line or not to line


>
> > My quandary comes in that letting $1 a yard fabric drag on the ground
> > and be stepped on occasionally by other people was not a big deal.
> > I'm having trouble with the idea of letting that fabric that came all
> > the way from Russia, just for me, drag and be stepped on.  The
> > structure of the fabric is pretty sturdy, it's not a terribly delicate
> > weaving, but still... should I line the train or not?  I have a bit of
> > black linen on hand that I could use, that would be relatively
> > unobtrusive when the train is held, as it will frequently be, but
> > there are times when it will be down... And if I line, how far up
> > should I go?  I was hoping to make this all out of stash fabric and I
> > don't have that much of the linen on hand...
>
> If the fabric needs to be supported or the back of it protected from
> snags, you'd want to *interline* the whole thing. (Sew the fashion
> fabric and "lining" fabric as one.)
>
> If you want to just protect the hem area where it touches the floor
> from drag wear as well as making it look nice if the edge is pulled
> up, then you can *face* the hem and train area. (Have the lower edge
> sewn and have the fabric go up as far as you need it to so that if
> you lifted the hem you would only see the facing.)
>
> If you want to improve the hang of the garment or protect the seams
> from wear, then you would *line* it. (A separate fabric is sewn into
> the dress which is cut so that it is similar to the fashion fabric
> but perhaps with expansion vents or sometimes with padding
> padstitched in areas to make them look smoother.)
>
> Each way of doing it has a different purpose. Black linen would be
> appropriate for each of the purposes mentioned.
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
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In a message dated 12/17/2003 1:41:25 PM Eastern Standard Time, 
kayta@frys.com writes:
Mine had this wicked-looking curved blade - nothing you can take on an 
airplane.  But it comes to this tiny little point at the end, which is just 
the thing for getting at those recalcitrant tiny little stitches.
I use the German-made ripper that Hancock Fabrics sells.  It is retractible, 
with one end tweezers and the other the ripper. In fact, I have 2 or 3 of 
them.  I find them very satisfactory--much more so than the cheaper ones that 
always seem to have a rough spot.

Ann Wass
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In a message dated 12/17/2003 1:58:44 PM Eastern Standard Time, 
bkessinger@ureach.com writes:
thought that interlining was putting another layer or layers of fabric
between the fashion fabric and the lining. Learn something new every day! :)
I think you are correct.  The technique of sewing fabric and lining as one is 
usually referred to as underlining or flat lining.  Making the lining 
separate and applying it to finish the inside of a garment is also called bag lining. 
 And interlining is putting in another layer--often used when making coats, 
to add a heavy layer of fleece to the lining, for example.

Ann Wass
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Subject: [h-cost] working with Folkwear
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I've heard many good things about the Folkwear line of patterns and I've 
finally got an excuse to make one. I'm making up the Bolivian Jacket out 
of some luscious mustard silk noil and a rust colored dupion I've had in 
my stash nearly a decade. What I'd like to know is, does the pattern 
sizing run true, and how is the ease in this pattern? I'm wondering if 
this will be like a Butterick pattern where I have to cut two sizes 
smaller than they suggest, or what.

I looked at the GBACG reviews and people don't say much about the 
patterns for this company other than they like them.

I am making a muslin, and a test jacket from leftover wool before I cut 
the silk, I'd just like to know what to expect from this pattern.



Dawn



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IMHO Folkwear's sizing is really accurate and I'm an addict to the company.
They are also fairly easy to redraft for sizing which is always a bonus.
Just don't forget...don't cut them they are too  precious *G*

Bice
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, 17 December, 2003 2:45 PM
Subject: [h-cost] working with Folkwear


> I've heard many good things about the Folkwear line of patterns and I've
> finally got an excuse to make one. I'm making up the Bolivian Jacket out
> of some luscious mustard silk noil and a rust colored dupion I've had in
> my stash nearly a decade. What I'd like to know is, does the pattern
> sizing run true, and how is the ease in this pattern? I'm wondering if
> this will be like a Butterick pattern where I have to cut two sizes
> smaller than they suggest, or what.
>
> I looked at the GBACG reviews and people don't say much about the
> patterns for this company other than they like them.
>
> I am making a muslin, and a test jacket from leftover wool before I cut
> the silk, I'd just like to know what to expect from this pattern.
>
>
>
> Dawn
>
>
>
> _______________________________________________
> 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 Dec 17 14:49:07 2003
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Subject: Re: [h-cost] working with Folkwear
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I've found that ease changes depending on the style you are making. Chinese
Cheongsam didn't have much ease, but Turkish Dancer had a lot. Sizes have
been good for me, but I'd actually need X-Small shoulders and they usually
don't go that small. Making a muslin is a good idea :-)

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 17, 2003 2:45 PM
Subject: [h-cost] working with Folkwear


> I've heard many good things about the Folkwear line of patterns and I've
> finally got an excuse to make one. I'm making up the Bolivian Jacket out
> of some luscious mustard silk noil and a rust colored dupion I've had in
> my stash nearly a decade. What I'd like to know is, does the pattern
> sizing run true, and how is the ease in this pattern? I'm wondering if
> this will be like a Butterick pattern where I have to cut two sizes
> smaller than they suggest, or what.
>
> I looked at the GBACG reviews and people don't say much about the
> patterns for this company other than they like them.
>
> I am making a muslin, and a test jacket from leftover wool before I cut
> the silk, I'd just like to know what to expect from this pattern.
>
>
>
> Dawn
>
>
>
> _______________________________________________
> 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 Dec 17 14:59:33 2003
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] drawn bonnet
Date: Wed, 17 Dec 2003 11:58:41 -0800
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Kelly - I just have to say you have been SO immensely helpful!  I 
really appreciate your assistance with this.  I'm having so much fun 
with my bonnet, and I'll send more photos when it's all trimmed!


On Dec 13, 2003, at 8:17 AM, Kelly Dorman wrote:

> I found a view pictures that I hope will help,
>
> http://themantuamaker.net/dressybonnets
>
> The rust coloured bonnet in the top row shows a good example of a 
> capote back, most of the rest show "hard-backs" which are backed in 
> buckram. The black one in the top row is a good example of adding 
> caning as trim, as opposed to caning the entire bonnet (and I 
> misspoke, the caned trim is on the brim, not the crown - bonnets have 
> only very small crowns at the back)
>
> http://www.antique-fashion.com/2203.htm
>
> This is earlier, but again shows a capote-type back.
>
> The more original bonnets I see leads me to believe there's not a 
> whole lot you can do "wrong" as long as you have the correct 
> foundation shaping (which you do) and are careful to stay away from 
> obviously modern  - read plastic - trimmings; it seems that just about 
> anything goes for bonnets!
> Kelly
> _______________________________________________
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From h-costume-bounces@indra.com  Wed Dec 17 15:35:50 2003
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Dawn wrote:

> I've heard many good things about the Folkwear line of patterns and 
> I've finally got an excuse to make one. I'm making up the Bolivian 
> Jacket out of some luscious mustard silk noil and a rust colored 
> dupion I've had in my stash nearly a decade. What I'd like to know is, 
> does the pattern sizing run true, and how is the ease in this pattern? 
> I'm wondering if this will be like a Butterick pattern where I have to 
> cut two sizes smaller than they suggest, or what.
>
> I looked at the GBACG reviews and people don't say much about the 
> patterns for this company other than they like them.
>
> I am making a muslin, and a test jacket from leftover wool before I 
> cut the silk, I'd just like to know what to expect from this pattern.

The Bolivian Jacket is an older pattern, I don't know if it has been 
revised in the last few years (Folkwear is slowly extending their 
pattern sizing into larger sizes, I think the original patterns only 
went to a 12 or 14). So, if it has been revised, I don't know if that 
affects the sizing of the pattern.
Measure the waist and bust of the pattern pieces and compare those 
measurements to yours. You might also check the back width across the 
shoulder blades if that is a problem area for you. Oh, and back length.
I drafted this pattern up to about a size 20 a few months (ok, 1/2 a 
year ago!) and didn't have too many problems with the fit, except it was 
still too short even after adding what I thought would be enough! 
(making the view with the gusseted gores - I have some wild printed 
corduroy to use).
Once I take tomorrows final, I'll attack my huge backlog of projects!

liz young


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> I thought that interlining was putting another layer or layers of
> fabric between the fashion fabric and the lining. Learn something new
> every day! :) 

Interlining, flat-lining and underlining are all the same thing. 
Which it's called depends on who writes the books. There are also a 
couple of other terms that mean the same thing. But they are 
different than lining or facing.

But your "putting another layer or layers of fabric between the 
fashion fabric and the lining" is the same thing. It just usually 
isn't put in as an independantly floating thing like linings 
generally are.

Many people only think of interlining for the area of the collar on 
tailored garments or for cuffs and the like, but it can be far more 
extensive than that.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] working with Folkwear
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My own experience has been that the earlier patterns were fairly true to
their declared sizing. I have found that their 19th-20th C historical
patterns run slightly larger than expected.
There may be two things (at least) going on here. #1, ethnic fit differs
from country to country. One needs to have a feel for how the costume is
supposed to fit in situ. If you are looking for a contemporary fashion, you
may have to tweak the pattern for modern style. #2. We expect a more relaxed
fit in garments of our present Western fashion, and like the discussion of
the dirndl last week, have a myriad collection of ideas as to what it might
look like and how to distinguish the "real" from ersatz.
I've made many of the ethnic pattern through the years and wear them all the
time as my everyday garb...just because I like the variety of styles and
they are fun to work up in some of the interesting fabrics one finds on the
run
Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 17, 2003 2:45 PM
Subject: [h-cost] working with Folkwear


> I've heard many good things about the Folkwear line of patterns and I've
> finally got an excuse to make one. I'm making up the Bolivian Jacket out
> of some luscious mustard silk noil and a rust colored dupion I've had in
> my stash nearly a decade. What I'd like to know is, does the pattern
> sizing run true, and how is the ease in this pattern? I'm wondering if
> this will be like a Butterick pattern where I have to cut two sizes
> smaller than they suggest, or what.
>
> I looked at the GBACG reviews and people don't say much about the
> patterns for this company other than they like them.
>
> I am making a muslin, and a test jacket from leftover wool before I cut
> the silk, I'd just like to know what to expect from this pattern.
>
>
>
> Dawn
>
>
>
> _______________________________________________
> 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] working with Folkwear
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Thanks to everyone who had comments to share. I have one of the older 
patterns, priced at $5.50 or so, with yellowing paper... Goes to size 14 
which is what they suggest I cut according to my measurements. I traced 
it onto interfacing and then used that as a pattern on some dark grey 
linen I was planning to use for a lining.

I measured myself against the pattern and found the pattern was way too 
big --I'm a 36" bust and minus seam allowances I was looking at 42" of 
paper, but I figured I would baste it together and  then see what needed 
adjusting.

And somehow once it was sewn it fit pretty well. It's a little high on 
the back of the neck, which is typical for me, but otherwise it's fine. 
I'm altering the neckline and the sleeve cuffs to make it more typical 
of the mid 1500's peasant jackets I see, as I'll be wearing it at an 
event in February.

If this works out well I will make the silk one for modern day evening 
wear.



Dawn



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] working with Folkwear
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On Wednesday 17 December 2003 02:47 pm, Audrey Bergeron-Morin wrote:
> I've found that ease changes depending on the style you are making. Chinese
> Cheongsam didn't have much ease, but Turkish Dancer had a lot. Sizes have
> been good for me, but I'd actually need X-Small shoulders and they usually
> don't go that small. Making a muslin is a good idea :-)

I've found them to run pretty true to modern sizes--but then most of the 
Folkwear garments I've made weren't fitted garments.

-- 
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: Scalpels for Ripping out seams - Re: [h-cost] A New Tradition
Date: Wed, 17 Dec 2003 22:44:40 -0500
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On Wednesday 17 December 2003 12:03 pm, Heather Meadows wrote:
> I'm not the only one! yay!
>
> They looked at me like I was insane at work when I pulled out a single
> edge blade for ripping.

Sounds like a great idea to me.  I've used Exacto knives, myself, because I 
have no friends in medicine and no easy access to scalpels.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: [h-cost] Re: Scalpels for Ripping out seams
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At 07:18 AM 12/17/2003 -0800, you wrote:
>I know a few folks who us scalpels for ripping out seam in a snap.  You can
>get them at www.valleyvet.com for less than a dollar.  I'm definetly going
>to try this method out!


Hi Lisa

Any idea which of the three subsites would have the scalpels? I don't see a 
search feature on the front page, and am not sure where to dig in.

Thanks!

Kimiko


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

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

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Subject: Re: [h-cost] Re: Scalpels for Ripping out seams
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Yes Kimiko, hit the middle image for "Farm" and the next page has a search
field.  Enter "scalpels" with an "S" and a small assortment come up.  I'm
definitely going to try this seam ripping method out as it sounds like a
great idea.

Lisa


----- Original Message -----
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 17, 2003 7:48 PM
Subject: [h-cost] Re: Scalpels for Ripping out seams


> At 07:18 AM 12/17/2003 -0800, you wrote:
> >I know a few folks who us scalpels for ripping out seam in a snap.  You
can
> >get them at www.valleyvet.com for less than a dollar.  I'm definetly
going
> >to try this method out!
>
>
> Hi Lisa
>
> Any idea which of the three subsites would have the scalpels? I don't see
a
> search feature on the front page, and am not sure where to dig in.
>
> Thanks!
>
> Kimiko
>
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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When I was doing more late-period stuff (uh, 16th c), I interlined my
bodices.  Works really well to, well, hold the girls up when wearing
ItalianRen, too.
I started out using a heavy cotton canvas, but ended up with *severe*
shrinkage problems, even after some serious pre-washing.  So after a
while, I just used a couple of layers of really-heavy non-woven, sew-in
interfacing.
--sue

kat@grendal.rain.com wrote:
><snipped> 
 
> Many people only think of interlining for the area of the collar on
> tailored garments or for cuffs and the like, but it can be far more
> extensive than that.
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Date: Wed, 17 Dec 2003 22:59:06 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: Scalpels for Ripping out seams
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At 08:17 PM 12/17/2003 -0800, you wrote:
>Yes Kimiko, hit the middle image for "Farm" and the next page has a search
>field.  Enter "scalpels" with an "S" and a small assortment come up.  I'm
>definitely going to try this seam ripping method out as it sounds like a
>great idea.
>
>Lisa


Thanks Lisa!

I like what I see. Now to figure out just how many I would really need. One 
for my sewing room, one for my hand sewing kit, one for my faire kit, and a 
few for backups because I loose things so easily. Thank goodness they are 
so cheap (relatively speaking).

Kimiko


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

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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: Scalpels for Ripping out seams - Re: [h-cost] A New
  Tradition
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>Sounds like a great idea to me.  I've used Exacto knives, myself, because I
>have no friends in medicine and no easy access to scalpels.  :-)

Check out the full line of Xacto blades.  Some are very scalpel-like, and 
they can be bought several to a package.


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

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From: sewinggoddess@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Corset Stays - Did they ever use whalebone and in BONE?
Date: Thu, 18 Dec 2003 14:20:40 +0000
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Lisa,

  Wow what a score on that baleen frond!

  I had bought a book out in Colorado at Miramont Castle when my sister took
me there this past summer.  The book is titled _ Authentic Victorian
Dressmaking Techniques_ , edited by Kristina Harris.  It is a Dover reprint of
Butterick's 1905 book_ Dressmaking, Up to Date_. The bibliographical note says
this is an unabridged reprint of the original, and in the intro they say this
original is so rare"even Butterick's archives do not contain a copy".   New
ISBN number is 0-486-40485-4 .

   In the section marked "Draped Waists" the book talks about using whalebone
for the home sewer.   "Whalebone may be bought in strips one-yard long, about
three yards being required to bone a waist.  Get a medium-weight quality and
let the whalebone soak in warm water to soften, so the needle can be passed
through it."
    " A bone is slipped into the casing just formed at each side of the
closing, allowing it to reach to within an inch of the top of the first dart,
and sewed through the lining and the bone near the top to hold it in place.
Round the ends of the bones and shave them for half an inch to make the bone
thinner there, using a dull knife or blade of the scissors."

   And that is the entirety of how to cut whalebone in this book! The same
section goes into what direction the proper curve and spring of the whalebone
for the different seams, and guidelines on lengths to cut for proper fitting,
but nothing else on tools needed to cut.

   Overall the book is a great source for early 20th/late 19th century
dressmaking and sewing techniques. Even includes a section on children's and
infant's wear. And lots of pictures!!!!!1 All black and white, but they all
show techniques and sewing processes. I don't think there is a page in the
book without a photo or drawing, except for the intro.

   I hope this helps some.

  Crissy

   
> Hi folks and happy holidays to all of you!
> 
> I bought myself an early present and picked up a baleen frond from ebay for my 
> tailors shop.  Anyone who wants to see a pic can see it at 
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3259894443&category=372&rd=1 
> .  BTW -  I think there is enough baleen on the market from legal eskimo whaling 
> if anyone wanted to make a museum quality reproduction corset but I don't know 
> if one has to cut it while it is still fresh or not.  Has anyone ever seen a 
> demonstration of how to cut baleen for corset strips?
> 
> Something puzzles me though. There is another item listed as "4 Victorian 
> Whalebone Scrimshaw Corset Stays" found at 
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2581618065&category=12  and 
> these really look like and are described as BONE.  At only 6 inches they are too 
> short for a busk but don't look flexible at all?  Any one with opinions on this 
> one?  Just where would these BONES fit on a Victorian corset or is there some 
> error here.
> 
> Ever interested....
> 
> Lisa Sinervo
> 
> www.thrednedlestrete.com
> www.maninthemoone.com
> 
> 
> 
> _______________________________________________
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After reading the post yesterday (interlining) I was intrigued with hem guards. What a great way to save the bottom of my waaaaay out of budget fabric. How do I attatch one? Is it like Bias tape for the bottom of my dress? I thought about a wide hem guard (4-6 inches) and possibly heavily embroider it? This would be for my tudor era court gown. Any help much appreciated- Angelique


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I had to share this...

I have been trying to get my hands on Birbari and Herald for some time now.
I know I can ILL them, but I want my own copies. Finally, I was able to be
the "winner" of a Birbari on ABEbooks. It only cost me $115. I know... but I
have seen it go for over $200. Anyway, I also ordered a bunch of other books
from the Herald bibliography. I had to go to the post office to pick up a
book that was sent registered mail. I was so excited because I knew my
Birbari had finally arrived. I was fully ready to do the book dance (and I
know you all know what that is!!). When he brought the package to me, I was
crestfallen because it was a small package. Surely this was one of the other
books I had ordered. It wasn't. This book is tiny!! It is about the size of
a piece of paper folded in half and an inch (or less) thick! I haven't had a
chance yet to sit down and go through the book and I know that the
information inside will be wonderful. Some items definitely caught my eye
when I thumbed through it. I just thought it was funny how we build
something up in our mind and want it so badly... then when you get it, you
think "No really... bring out the real one!"

Teena

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From h-costume-bounces@indra.com  Thu Dec 18 10:32:00 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] hem guards
Date: Thu, 18 Dec 2003 08:29:35 -0700
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I have been asked to do the same on a commission for a farthingale.  I was
going to put a tuck near the bottom and thin band of ultra suede on the
bottom itself. But the whole thing has made me wonder about how often they
did this.  I remember seeing somewhere, but who knows where, about them in
documentation.  But with a Tudor gown it would seem that you want it to just
skim the floor and not touch it.  If you have a train on the back then it is
sort of a moot point right? 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of me
Sent: Thursday, December 18, 2003 8:05 AM
To: h-costume@net.indra.com
Subject: [h-cost] hem guards

After reading the post yesterday (interlining) I was intrigued with hem
guards. What a great way to save the bottom of my waaaaay out of budget
fabric. How do I attatch one? Is it like Bias tape for the bottom of my
dress? I thought about a wide hem guard (4-6 inches) and possibly heavily
embroider it? This would be for my tudor era court gown. Any help much
appreciated- Angelique


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From h-costume-bounces@indra.com  Thu Dec 18 10:34:19 2003
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Date: Thu, 18 Dec 2003 09:32:09 -0600 (CST)
Subject: Re: [h-cost] Birbari
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
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For those that do not have them yet be aware that the little corset book
and the little bodice book are similarly sized and format. Very shocking
when I got mine too. *wink*

Chiara

Teena Paradise said:
> I had to share this...
>
> I have been trying to get my hands on Birbari and Herald for some time
> now. I know I can ILL them, but I want my own copies. Finally, I was
> able to be the "winner" of a Birbari on ABEbooks. It only cost me $115.
> I know... but I have seen it go for over $200. Anyway, I also ordered a
> bunch of other books from the Herald bibliography. I had to go to the
> post office to pick up a book that was sent registered mail. I was so
> excited because I knew my Birbari had finally arrived. I was fully ready
> to do the book dance (and I know you all know what that is!!). When he
> brought the package to me, I was crestfallen because it was a small
> package. Surely this was one of the other books I had ordered. It
> wasn't. This book is tiny!! It is about the size of a piece of paper
> folded in half and an inch (or less) thick! I haven't had a chance yet
> to sit down and go through the book and I know that the information
> inside will be wonderful. Some items definitely caught my eye when I
> thumbed through it. I just thought it was funny how we build something
> up in our mind and want it so badly... then when you get it, you think
> "No really... bring out the real one!"
>
> Teena
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



Ches


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From: Gia_Gavino@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] To line or not to line
Date: Thu, 18 Dec 2003 15:34:01 +0000
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Greetings all!

I de-lurk for a few moments.  I've not followed this thread, so *please* forgive me, one and all, if I repeat something already stated or if my reply is not 'exactly' appropriate.

Basically from my sewing experience, I find that a garment that needs a graceful, flowing appearance, a good medium weight lining fabric (not the flimsy stuff made of acetate/polyester *called* lining in fabric stores today) greatly helps.  In period, if the garment is not lined, try to use a material that would provide the appropriate appearance.  If that is impossible, then lining to get a "reasonable facsimille" of the appearance you want is a good idea.


Generally, I *try* to follow (what I call) my fiber use guidlines: natural fibers should be teamed with natural fibers.  If I have to use a sythetic outer shell, then try to use mid weight linen or mid-weight silk.  Obviously, due to various modern limitations I can't even follow my own guideline.  But, overall, I try to get the appearance I want, and do what it takes to make that happen.

The more structured the garment, the more I pay attention to the "Innards" of the garment.  If the garment will be absoulutely fitted to the max or used to shape the body, then not only is the garment lined, it will have "Horsehair Interfacing", twill tape and any other material needed to secure the shape.

"What is horsehair interfacing?"  This interfacing is kind of hard to find.  I've trained the local fabric stores (Joanne's and Pacific Fabrics in Everett WA), to carry this material.  It is usually found in the more expensive fabric stores.  Horsehair interfacing is available woven in polyester with some horsehair (usually the cheapest around $3-5), then there is the wool/horsehar/rayon blend (about $7-9).  Why use horsehair?  It is very stable and endures garment wearing stress very well; and it seldom shrinks.  

Typically, when I make my Italian Ren gowns, I *fully* line the bodice with horsehair, and grade the seam allowances so they are not so bulky.  Where I think there will be considerable stress (in all directions), I add sewing twill tape in the seam allowance.   On my articulated sleeves, I also line with horsehair interfacing, if the outer shell fabric is lightweight.  That keeps the sleeves looking nice and 'crisp'.

The best twill tape is found in the drapery section of most fabric stores.  It's cheaper to buy (around .30 to $1 a yard, depending on width) and it comes in various widths.  Be sure to look at the fiber content!  I like using cotton twill tape because it just 'handles' better, but the polyester blends are ok, too.

Anyhow, that's all I have time for...

Happy stitches to you all!

Gia/Giacinta
> When I was doing more late-period stuff (uh, 16th c), I interlined my
> bodices.  Works really well to, well, hold the girls up when wearing
> ItalianRen, too.
> I started out using a heavy cotton canvas, but ended up with *severe*
> shrinkage problems, even after some serious pre-washing.  So after a
> while, I just used a couple of layers of really-heavy non-woven, sew-in
> interfacing.
> --sue
> 
> kat@grendal.rain.com wrote:
> ><snipped> 
>  
> > Many people only think of interlining for the area of the collar on
> > tailored garments or for cuffs and the like, but it can be far more
> > extensive than that.
> _______________________________________________
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From h-costume-bounces@indra.com  Thu Dec 18 10:47:25 2003
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <121820031420.21642.4965@att.net>
Subject: Re: [h-cost] Corset Stays - Did they ever use whalebone and in BONE?
Date: Thu, 18 Dec 2003 07:27:54 -0800
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Thanks for the working with whalebone info!  Your email is a print up and
add to the tailor's shop info binder item! Although realistically I doubt I
could actually work with baleen as I've been a vegetarian for 27 years and
can't even cope with cutting up a chicken!  But for educational purposes
anyway, I'm interested in knowing how the material handels.  Hopefully some
reasonably priced bones (of baleen) from an old corset will hit the market
that way I can pick some up that have already been trimmed and have both raw
baleen and the corset bones in the shop.

I wish I had all the time in the world to add some Victorian dressmaking
into my costuming!  Those Dicken's faires sound fun.  And 17th century,
and......

Lisa Sinervo
www.thrednedlestrete.com



----- Original Message -----
From: <sewinggoddess@att.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 18, 2003 6:20 AM
Subject: Re: [h-cost] Corset Stays - Did they ever use whalebone and in
BONE?


> Lisa,
>
>   Wow what a score on that baleen frond!
>
>   I had bought a book out in Colorado at Miramont Castle when my sister
took
> me there this past summer.  The book is titled _ Authentic Victorian
> Dressmaking Techniques_ , edited by Kristina Harris.  It is a Dover
reprint of
> Butterick's 1905 book_ Dressmaking, Up to Date_. The bibliographical note
says
> this is an unabridged reprint of the original, and in the intro they say
this
> original is so rare"even Butterick's archives do not contain a copy".
New
> ISBN number is 0-486-40485-4 .
>
>    In the section marked "Draped Waists" the book talks about using
whalebone
> for the home sewer.   "Whalebone may be bought in strips one-yard long,
about
> three yards being required to bone a waist.  Get a medium-weight quality
and
> let the whalebone soak in warm water to soften, so the needle can be
passed
> through it."
>     " A bone is slipped into the casing just formed at each side of the
> closing, allowing it to reach to within an inch of the top of the first
dart,
> and sewed through the lining and the bone near the top to hold it in
place.
> Round the ends of the bones and shave them for half an inch to make the
bone
> thinner there, using a dull knife or blade of the scissors."
>
>    And that is the entirety of how to cut whalebone in this book! The same
> section goes into what direction the proper curve and spring of the
whalebone
> for the different seams, and guidelines on lengths to cut for proper
fitting,
> but nothing else on tools needed to cut.
>
>    Overall the book is a great source for early 20th/late 19th century
> dressmaking and sewing techniques. Even includes a section on children's
and
> infant's wear. And lots of pictures!!!!!1 All black and white, but they
all
> show techniques and sewing processes. I don't think there is a page in the
> book without a photo or drawing, except for the intro.
>
>    I hope this helps some.
>
>   Crissy
>
>


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] hem guards
To: Historical Costume <h-costume@indra.com>
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When I do mine--I do them on the inside of the dress,  from the edge of the hem up about 3 to 6 inches, just  to protect the edges of the skirt that brushes/hangs down on the floor. I usually use a sturdy bias cut fabric. So, my version, is perhaps, more properly called a 'facing'.I even sew it on like one.Measure where my hemline will be all the way around --and then sew the bias cut strip all the way around the hem, 'right' sides to 'right' sides, then press and flip to inside of dress. Then I slip stitch  the upper edge  to the lining of skirt.
(Have I thoroughly confused you , yet?) 
I have seen fabric guards attached on the outside of the skirt  in contrasting colors. I did one a long time ago--when I attached a band of black velveteen about 6" deep all the way around a deep burgundy skirt, that flipped/folded it around the edge of the hem to the inside of the dress skirt--about 3 inches up--so I'd say I started with a band of fabric totalling 9 " wide.I had cut the skirt in straight panels all the way around, so the black velveteen guards did not need to be bias cut. Made things easier. Apparently it wore fairly well, since the lady friend I made it for is only now thinking of replacing the guard--10 years later:)
Hope this helps.
Albra 

me <ivycircle@yahoo.com> wrote:
After reading the post yesterday (interlining) I was intrigued with hem guards. What a great way to save the bottom of my waaaaay out of budget fabric. How do I attatch one? Is it like Bias tape for the bottom of my dress? I thought about a wide hem guard (4-6 inches) and possibly heavily embroider it? This would be for my tudor era court gown. Any help much appreciated- Angelique


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> I have been trying to get my hands on Birbari and Herald for some time
> now. I know I can ILL them, but I want my own copies. Finally, I was
> able to be the "winner" of a Birbari on ABEbooks. It only cost me
> $115. I know... but I have seen it go for over $200. 

Congratulations! Hopefully you'll find a Herald too.

Kat
<kat@redtrollforge.com>


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On Thu, 18 Dec 2003, Teena Paradise wrote:

> I have been trying to get my hands on Birbari and Herald for some time
> now. This book is tiny!! It is about the size of a piece of paper
> folded in half and an inch (or less) thick!

This is "Dress in Italian Painting"? I just checked a couple of library
catalogs that both say it's "114 p., [18] leaves of plates : ill. ; 23
cm." That's nine inches tall...

--Robin

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> After reading the post yesterday (interlining) I was intrigued with
> hem guards. What a great way to save the bottom of my waaaaay out of
> budget fabric. How do I attatch one? Is it like Bias tape for the
> bottom of my dress? I thought about a wide hem guard (4-6 inches) and
> possibly heavily embroider it? This would be for my tudor era court
> gown. Any help much appreciated- Angelique

It depends on which part of the hem you are "guarding." In the Tudor 
era the guards tended to be the trim on the bottom of the dress. You 
can look at pictures to see how wide. There are still some extant 
ones from later in the 16th century such as in the V&A textile 
collection. The ones for the outside tend to be quite elaborate and 
could be moved from one dress to another when the original dress wore 
out, became damaged or outgrown.

If you want to have the underside of the hem "guarded" you would do 
it similar to attaching bias tape but I would suggest a shaped 
facing. It can be fairly narrow (4-6") so that only the hem itself is 
protected. I would not recommend putting any embroidery on it, as it 
would make it more likely to catch and would wear more poorly. After 
all, the reason for it is to have the area protected by something 
relatively expendable. You could also make it much wider if you 
wanted to be able to have it prettier further up the dress, but Tudor 
dresses don't usually get the hems gathered up much. (But you might 
face the inside front edges of a split skirt since those sometimes do 
flip back.) The wider ones sometimes need to have a lining to attach 
to for support since the additional weight makes it difficult to just 
attach them to the seams and/or main fabric without it pulling.

Kat
<kat@redtrollforge.com>


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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10312181231350.16909-100000@shell.nightowl.net>
Subject: Re: [h-cost] Birbari
Date: Thu, 18 Dec 2003 12:20:59 -0500
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Yes, its 8.75 in x 5.75 in. A piece of standard notebook paper folded in
half is 8.5 in x 5.5 in. I just measured the thickness too... 1/2 inch. But
then who says something important has to be big, right? :)
----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 18, 2003 1:33 PM
Subject: Re: [h-cost] Birbari


>
> On Thu, 18 Dec 2003, Teena Paradise wrote:
>
> > I have been trying to get my hands on Birbari and Herald for some time
> > now. This book is tiny!! It is about the size of a piece of paper
> > folded in half and an inch (or less) thick!
>
> This is "Dress in Italian Painting"? I just checked a couple of library
> catalogs that both say it's "114 p., [18] leaves of plates : ill. ; 23
> cm." That's nine inches tall...
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
>

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Date: Thu, 18 Dec 2003 09:23:29 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Birbari
To: Historical Costume <h-costume@indra.com>
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Yes, Teena it IS a tiny book---( I already got my copy when I was at the Museum of Costumning at Bath back in '83) but definitely worth having!
Congrats!
Albra

Robin Netherton <robin@shell.nightowl.net> wrote:

On Thu, 18 Dec 2003, Teena Paradise wrote:

> I have been trying to get my hands on Birbari and Herald for some time
> now. This book is tiny!! It is about the size of a piece of paper
> folded in half and an inch (or less) thick!

This is "Dress in Italian Painting"? I just checked a couple of library
catalogs that both say it's "114 p., [18] leaves of plates : ill. ; 23
cm." That's nine inches tall...

--Robin

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Actually, the farthingale should be several inches off the ground as having it too low increases the chances of walking up the front of your dress. I generally make mine about 4-5 inches above average ground level (which at the RenFaire varies!). The hem of the dress should be full and stiff enough to keep the line even without the direct support. I have been making mine that way for years and have never had a problem with appearance. 


Karen

-- "Saragrace T. Knauf" <saragrace@earthlink.net> wrote:
I have been asked to do the same on a commission for a farthingale.  I was
going to put a tuck near the bottom and thin band of ultra suede on the
bottom itself. But the whole thing has made me wonder about how often they
did this.  I remember seeing somewhere, but who knows where, about them in
documentation.  But with a Tudor gown it would seem that you want it to just
skim the floor and not touch it.  If you have a train on the back then it is
sort of a moot point right? 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of me
Sent: Thursday, December 18, 2003 8:05 AM
To: h-costume@net.indra.com
Subject: [h-cost] hem guards

After reading the post yesterday (interlining) I was intrigued with hem
guards. What a great way to save the bottom of my waaaaay out of budget
fabric. How do I attatch one? Is it like Bias tape for the bottom of my
dress? I thought about a wide hem guard (4-6 inches) and possibly heavily
embroider it? This would be for my tudor era court gown. Any help much
appreciated- Angelique


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From h-costume-bounces@indra.com  Thu Dec 18 14:40:15 2003
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Corset Stays - Did they ever use whalebone and in BONE?
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>Although realistically I doubt I
>could actually work with baleen as I've been a vegetarian for 27 years

A friend of mine let me look at a baleen bone she had, an antique, and it 
looked and felt like black fingernail.  It was about 1/32 of an inch thick 
and curved across its width like fingernails are.  It was smooth on one 
side, kind of rough on the other but with longitudinal striations, and 
flexible as a long fingernail (well, my thick fingernails 
anyway).  Aparently baleen and fingernails (and rhinoceros horn) are made 
of the same stuff.

If baleen is made of the same stuff as fingernails, soaking it should make 
it a little softer, and it should have a longitudinal grain.  I'd cut it 
with an Xacto knife and metal ruler, and trim the ends with one of those 
big toenail cutters.

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

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From h-costume-bounces@indra.com  Thu Dec 18 14:40:15 2003
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] hem guards
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That Victorian sewing book of Dover's that somebody mentioned; that has 
instructions for making velveteen hem guards.  (Victorian = 1906 for that 
book.)  Surviving Victorian and Edwardian examples often have hem guards 
you can look at.

>When I do mine--I do them on the inside of the dress,  from the edge of 
>the hem up about 3 to 6 inches, just  to protect the edges of the skirt 
>that brushes/hangs down on the floor. I usually use a sturdy bias cut 
>fabric. So, my version, is perhaps, more properly called a 'facing'.I even 
>sew it on like one.Measure where my hemline will be all the way around 
>--and then sew the bias cut strip all the way around the hem, 'right' 
>sides to 'right' sides, then press and flip to inside of dress. Then I 
>slip stitch  the upper edge  to the lining of skirt.
>(Have I thoroughly confused you , yet?)
>I have seen fabric guards attached on the outside of the skirt  in 
>contrasting colors. I did one a long time ago--when I attached a band of 
>black velveteen about 6" deep all the way around a deep burgundy skirt, 
>that flipped/folded it around the edge of the hem to the inside of the 
>dress skirt--about 3 inches up--so I'd say I started with a band of fabric 
>totalling 9 " wide.I had cut the skirt in straight panels all the way 
>around, so the black velveteen guards did not need to be bias cut. Made 
>things easier. Apparently it wore fairly well, since the lady friend I 
>made it for is only now thinking of replacing the guard--10 years later:)
>Hope this helps.
>Albra
>
>me <ivycircle@yahoo.com> wrote:
>After reading the post yesterday (interlining) I was intrigued with hem 
>guards. What a great way to save the bottom of my waaaaay out of budget 
>fabric. How do I attatch one? Is it like Bias tape for the bottom of my 
>dress? I thought about a wide hem guard (4-6 inches) and possibly heavily 
>embroider it? This would be for my tudor era court gown. Any help much 
>appreciated- Angelique
>
>
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        CarolynKayta Barrows
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          www.FunStuft.com

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I don't have my _Patterns of Fashion_ to hand at the moment, but I thought there was at least one skirt that had both inside hem "facing" as well as outside decorative guarding at the hem... (Granted, that's later then Tudor, but I don't know of any existent Tudor skirts to compare it too.)
	-sunny

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Not for the historical purist,  but--I got a very amusing catalog today 
for the "Sovietski Collection:  Historically Inspired Products with a 
Sense of Adventure."  Get a KGB badge/ID booklet, Czechoslovakian Spy 
Gear, Authentic Soviet Paratrooper Helmet, Fallout Shelter Sign, Swiss 
Army Gas Mask, WWII Bomber Jacket, and more!  It's kind of like Past 
Times crossed with Soldier of Fortune magazine. Their website is 
www.sovietski.com and no, I am not affiliated with this company.

Fran

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


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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Tacky but fun
Date: Thu, 18 Dec 2003 16:38:21 -0500
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I've been getting this catalog for a while now (No idea why!). It has some
very cool stuff in it. I saw one where you could get a bicycle from WWII.
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Thursday, December 18, 2003 4:04 PM
Subject: [h-cost] Tacky but fun


> Not for the historical purist,  but--I got a very amusing catalog today
> for the "Sovietski Collection:  Historically Inspired Products with a
> Sense of Adventure."  Get a KGB badge/ID booklet, Czechoslovakian Spy
> Gear, Authentic Soviet Paratrooper Helmet, Fallout Shelter Sign, Swiss
> Army Gas Mask, WWII Bomber Jacket, and more!  It's kind of like Past
> Times crossed with Soldier of Fortune magazine. Their website is
> www.sovietski.com and no, I am not affiliated with this company.
>
> Fran
>
> ----------------------------------
> 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  Thu Dec 18 21:05:11 2003
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This is a picture of me at Winter Range.  Cowboy Single Action Shooting held each winter in Phoenix Az.  My husband and granddaughter are shooters.  I just dress up. 
This costume was one I purchased and then took home and remade.  I've also gone on weight watchers and have lost 25lbs and still going.




---------------------------------
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From h-costume-bounces@indra.com  Fri Dec 19 00:27:54 2003
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Subject: Re: [h-cost] A New Tradition
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Oh Lisa........  never seen anyone show their driver's license photo without
having to write a check!!!  Wow, your son and you really do look alike.

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


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Albra,

Thank you!!!  I hope to see your family photo soon!

Have a wonderful holiday!

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: O.T. Paper sizes, was Re: [h-cost] Birbari
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Yet another thing that must be different in different countries. When I
read Teena's comment I thought "How long is a piece of string? How big
is a piece of paper?"
The standard UK size is now A4;  half that (A5) would be 8.25 x 5.75.
When I lived for a few months in Switzerland in the 1970s, their paper
sizes were quite different; don't know if they have changed since.

>>> bkessinger@ureach.com 12/18/03 5:20:59 PM >>>
Yes, its 8.75 in x 5.75 in. A piece of standard notebook paper folded
in
half is 8.5 in x 5.5 in. I just measured the thickness too... 1/2 inch.
But
then who says something important has to be big, right? :)
----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 18, 2003 1:33 PM
Subject: Re: [h-cost] Birbari


>
> On Thu, 18 Dec 2003, Teena Paradise wrote:
>
> > I have been trying to get my hands on Birbari and Herald for some
time
> > now. This book is tiny!! It is about the size of a piece of paper
> > folded in half and an inch (or less) thick!
>
> This is "Dress in Italian Painting"? I just checked a couple of
library
> catalogs that both say it's "114 p., [18] leaves of plates : ill. ;
23
> cm." That's nine inches tall...
>
> --Robin
>
> _______________________________________________
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> h-costume@mail.indra.com 
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>
>

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Library, University of Derby
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From h-costume-bounces@indra.com  Fri Dec 19 06:09:46 2003
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Subject: [h-cost] 1845-60 Bonnet question help!!
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Hi,

I've made a bonnet but now I have a question.
If I ty the straps under my chin the bonnet tends to slide backwards.
I tried to place the straps that it wouldn't do that and it is much 
better now but still not perfect.
Did they use hatpins or something to keep the bonnet on even with wind??
I've heard that there wil be a stong wind this weekend :-(

Greetings,
        Deredere


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Date: Fri, 19 Dec 2003 03:56:17 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1845-60 Bonnet question help!!
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>I've made a bonnet but now I have a question.
>If I ty the straps under my chin the bonnet tends to slide backwards.
>I tried to place the straps that it wouldn't do that and it is much better 
>now but still not perfect.
>Did they use hatpins or something to keep the bonnet on even with wind??
>I've heard that there wil be a stong wind this weekend :-(

Make a bun of your periodly hip-length hair, and seat the bonnet on 
that.  Failing which, use a hat pin across the back (my hair is about 
shoulder-length).

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

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Hi,

Here are some pictures of my bonnet :-)
http://www.deredere.dds.nl/Victorian/Victorian.html

Greetings,
        Deredere


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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
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Date: Fri, 19 Dec 2003 08:00:19 -0700
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Hey! Where's the picture?  :)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kathy Hensley
Sent: Thursday, December 18, 2003 7:04 PM
To: Historical Costume
Subject: [h-cost] picture

This is a picture of me at Winter Range.  Cowboy Single Action Shooting held
each winter in Phoenix Az.  My husband and granddaughter are shooters.  I
just dress up. 
This costume was one I purchased and then took home and remade.  I've also
gone on weight watchers and have lost 25lbs and still going.




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Nice dress!  Nice Bonnet!  What is that you and your friend are sitting on?



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It's lovely Deredere! What a pretty color for you, too.
Albra

Deredere Galbraith <triade@kabelfoon.nl> wrote:
Hi,

Here are some pictures of my bonnet :-)
http://www.deredere.dds.nl/Victorian/Victorian.html

Greetings,
Deredere


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I wondered that too:(
Albra

"Saragrace T. Knauf" <saragrace@earthlink.net> wrote:
Hey! Where's the picture? :)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kathy Hensley
Sent: Thursday, December 18, 2003 7:04 PM
To: Historical Costume
Subject: [h-cost] picture

This is a picture of me at Winter Range. Cowboy Single Action Shooting held
each winter in Phoenix Az. My husband and granddaughter are shooters. I
just dress up. 
This costume was one I purchased and then took home and remade. I've also
gone on weight watchers and have lost 25lbs and still going.




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Hi, I haven't seen anyone mention what I use on all my long skirts (copying
someone else in my Elizabethan group). I get some piping from the upholstery
department (1/2'? 1"? wide) of a heavy black cotton and sew it inside at the
hem so it hangs down below the actual hem. Because it's black it blends into
skirts made from blue to burgundy to forest green; it looks like shadow. I
haven't had to rehem or add a guard to any skirt since I found this
solution. It even protects those changeable taffeta skirts that are so
fragile. Works whether you're playing on concrete or a rocky surface. You
can always use contrasting guards for design elements; this protects your
skirt from the floor.

LynnD


On 12/18/03 8:10 AM, "KATHRYN WOLTERS" <albrakat7@yahoo.com> wrote:

> When I do mine--I do them on the inside of the dress,  from the edge of the
> hem up about 3 to 6 inches, just  to protect the edges of the skirt that
> brushes/hangs down on the floor. I usually use a sturdy bias cut fabric. So,
> my version, is perhaps, more properly called a 'facing'.I even sew it on like
> one.Measure where my hemline will be all the way around --and then sew the
> bias cut strip all the way around the hem, 'right' sides to 'right' sides,
> then press and flip to inside of dress. Then I slip stitch  the upper edge  to
> the lining of skirt.
> (Have I thoroughly confused you , yet?)
> I have seen fabric guards attached on the outside of the skirt  in contrasting
> colors. I did one a long time ago--when I attached a band of black velveteen
> about 6" deep all the way around a deep burgundy skirt, that flipped/folded it
> around the edge of the hem to the inside of the dress skirt--about 3 inches
> up--so I'd say I started with a band of fabric totalling 9 " wide.I had cut
> the skirt in straight panels all the way around, so the black velveteen guards
> did not need to be bias cut. Made things easier. Apparently it wore fairly
> well, since the lady friend I made it for is only now thinking of replacing
> the guard--10 years later:)
> Hope this helps.
> Albra 
> 
> me <ivycircle@yahoo.com> wrote:
> After reading the post yesterday (interlining) I was intrigued with hem
> guards. What a great way to save the bottom of my waaaaay out of budget
> fabric. How do I attatch one? Is it like Bias tape for the bottom of my dress?
> I thought about a wide hem guard (4-6 inches) and possibly heavily embroider
> it? This would be for my tudor era court gown. Any help much appreciated-
> Angelique
> 

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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] 1845-60 Bonnet question help!!
Date: Fri, 19 Dec 2003 10:53:10 -0800
To: Historical Costume <h-costume@indra.com>
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Putting a hair comb in can help, too.


On Dec 19, 2003, at 3:56 AM, Carolyn Kayta Barrows wrote:

>
>> I've made a bonnet but now I have a question.
>> If I ty the straps under my chin the bonnet tends to slide backwards.
>> I tried to place the straps that it wouldn't do that and it is much 
>> better now but still not perfect.
>> Did they use hatpins or something to keep the bonnet on even with 
>> wind??
>> I've heard that there wil be a stong wind this weekend :-(
>
> Make a bun of your periodly hip-length hair, and seat the bonnet on 
> that.  Failing which, use a hat pin across the back (my hair is about 
> shoulder-length).
>
>        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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From h-costume-bounces@indra.com  Fri Dec 19 13:55:45 2003
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From: "Bice d'Este" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <BC088629.E84%LDownward@chori.org>
Subject: Re: [h-cost] hem guards
Date: Fri, 19 Dec 2003 13:54:56 -0500
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A nice victorian habit (and it may have also been used earlier) is a trick
I've used, upholstrery trim the type called bullion fringe also works well
at sweeping dust and not getting it in the hem.


Bice
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
----- Original Message ----- 
From: "Lynn Downward" <LDownward@chori.org>
To: "h costume" <h-costume@indra.com>
Sent: Friday, 19 December, 2003 1:40 PM
Subject: Re: [h-cost] hem guards


> Hi, I haven't seen anyone mention what I use on all my long skirts
(copying
> someone else in my Elizabethan group). I get some piping from the
upholstery
> department (1/2'? 1"? wide) of a heavy black cotton and sew it inside at
the
> hem so it hangs down below the actual hem. Because it's black it blends
into
> skirts made from blue to burgundy to forest green; it looks like shadow. I
> haven't had to rehem or add a guard to any skirt since I found this
> solution. It even protects those changeable taffeta skirts that are so
> fragile. Works whether you're playing on concrete or a rocky surface. You
> can always use contrasting guards for design elements; this protects your
> skirt from the floor.
>
> LynnD
>
>
> On 12/18/03 8:10 AM, "KATHRYN WOLTERS" <albrakat7@yahoo.com> wrote:
>
> > When I do mine--I do them on the inside of the dress,  from the edge of
the
> > hem up about 3 to 6 inches, just  to protect the edges of the skirt that
> > brushes/hangs down on the floor. I usually use a sturdy bias cut fabric.
So,
> > my version, is perhaps, more properly called a 'facing'.I even sew it on
like
> > one.Measure where my hemline will be all the way around --and then sew
the
> > bias cut strip all the way around the hem, 'right' sides to 'right'
sides,
> > then press and flip to inside of dress. Then I slip stitch  the upper
edge  to
> > the lining of skirt.
> > (Have I thoroughly confused you , yet?)
> > I have seen fabric guards attached on the outside of the skirt  in
contrasting
> > colors. I did one a long time ago--when I attached a band of black
velveteen
> > about 6" deep all the way around a deep burgundy skirt, that
flipped/folded it
> > around the edge of the hem to the inside of the dress skirt--about 3
inches
> > up--so I'd say I started with a band of fabric totalling 9 " wide.I had
cut
> > the skirt in straight panels all the way around, so the black velveteen
guards
> > did not need to be bias cut. Made things easier. Apparently it wore
fairly
> > well, since the lady friend I made it for is only now thinking of
replacing
> > the guard--10 years later:)
> > Hope this helps.
> > Albra
> >
> > me <ivycircle@yahoo.com> wrote:
> > After reading the post yesterday (interlining) I was intrigued with hem
> > guards. What a great way to save the bottom of my waaaaay out of budget
> > fabric. How do I attatch one? Is it like Bias tape for the bottom of my
dress?
> > I thought about a wide hem guard (4-6 inches) and possibly heavily
embroider
> > it? This would be for my tudor era court gown. Any help much
appreciated-
> > Angelique
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
_______________________________________________
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Date: Fri, 19 Dec 2003 11:00:06 -0800
Subject: Re: [h-cost] 1845-60 Bonnet question help!!
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Yes, a hat pin will work - unless you've used three layers of buckram and
can't get the hat pin through the da*% buckram.

Another solution is to sew two sets of ribbons under your chin. One is
smaller and attaches close to the front of your bonnet; it keeps the bonnet
forward where it needs to be. The other ribbon is large and covers the
smaller ribbon; it is set farther back from the front and is more
theatrical.  Many of the original Victorian bonnets have the two sets of
ribbons.

LynnD

On 12/19/03 3:56 AM, "Carolyn Kayta Barrows" <kayta@frys.com> wrote:

> 
>> I've made a bonnet but now I have a question.
>> If I ty the straps under my chin the bonnet tends to slide backwards.
>> I tried to place the straps that it wouldn't do that and it is much better
>> now but still not perfect.
>> Did they use hatpins or something to keep the bonnet on even with wind??
>> I've heard that there wil be a stong wind this weekend :-(
> 
> Make a bun of your periodly hip-length hair, and seat the bonnet on
> that.  Failing which, use a hat pin across the back (my hair is about
> shoulder-length).
> 
>       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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Pictures of my bonnet
References: <3FE30FD6.6090400@kabelfoon.nl>
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Also, women of that era frequently wore white caps (before putting on 
the bonnet) to protect the inside of the bonnet from oily hair - with 
the cap pinned to enough pincurls of one's own hair, it seems to me 
you'd be able to use straight pins through the cap and the lining of the 
bonnet in enough strategic places to give a secure seating.

Takes some time and fiddling though...no popping on the bonnet and 
rushing out the door!!!

Theresa Eacker

Deredere Galbraith wrote:
> Hi,
> 
> Here are some pictures of my bonnet :-)
> http://www.deredere.dds.nl/Victorian/Victorian.html
> 
> Greetings,
>        Deredere
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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For those who might be interested I'm selling off part of my costuming library
on Ebay starting with Queen Elizabeth's Wardrobe Unlock'd. Here's a link.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3574599513

Lori S




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This is a CNN story, so it must be the trouth.
A ghost catched by camera at Hampton Court in period costume.
Wich period is it?
Go to:
http://www.cnn.com/2003/WORLD/europe/12/19/hampton.ghost.ap/index.html


Bjarne



Leif og Bjarne Drews
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Subject: [h-cost] FW: [Ermine] Palace 'ghost' caught on camera
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Considering out time-travel discussions a month or so back, I thought the
list might be interested in this story I read on another list. The link is
to CNN.com and it shoes a photograph that (to me) looks like a guy in a
cheesy costume. But the story is kind of eerie. I like that this "ghost"
keeps opening the fire door. If there's a fire at Hampton Court Palace, I
will believe it!

Gail Finke



http://www.cnn.com/2003/WORLD/europe/12/19/hampton.ghost.ap/index.html

(THE PICTURE IS AT SITE)

Palace 'ghost' caught on camera
Friday, December 19, 2003 Posted: 1:54 PM EST (1854 GMT)

LONDON, England (AP) -- Are there ghostly goings-on at Henry VIII's
palace, or is that hazy image of a fellow in fancy robes just a bit of
Christmas cheer?

Closed-circuit security cameras at Hampton Court Palace, the huge Tudor
castle outside London, seem to have snagged an ethereal visitor. Could
it be a ghost?

"We're baffled too -- it's not a joke, we haven't manufactured it,"
said Vikki Wood, a Hampton Court spokeswoman, when asked if the photo
the palace released was a Christmas hoax. "We genuinely don't know who
it is or what it is."

Wood said security guards had seen the figure in closed-circuit
television footage after checking it to see who kept leaving open one
of the palace's fire doors.

In the still photograph, the figure of a man in a robe-like garment is
shown stepping from the shadowy doorway, one arm reaching out for the
door handle.

The area around the man is somewhat blurred, and his face appears
unnaturally white compared with his outstretched hand.

"It was incredibly spooky because the face just didn't look human,"
said James Faukes, one of the palace security guards.

"My first reaction was that someone was having a laugh, so I asked my
colleagues to take a look. We spoke to our costumed guides, but they
don't own a costume like that worn by the figure. It is actually quite
unnerving," Faukes said.

The palace, built in 1525 on the River Thames 10 miles west of central
London, is a popular tourist attraction and some of the guides wear
costumes of the Tudor period.

Wood said she was hoping people would come forward with similar stories
and try to explain the figure.

The palace has been the scene of many dramatic royal events, and
already is supposed to have a few ghosts.

King Henry VIII's third wife, Jane Seymour, died there giving birth to
a son, and her ghost is said to walk through one of the cobbled
courtyards carrying a candle.

Her son, Edward, had a nurse called Sibell Penn who was buried in the
palace grounds in 1562. In 1829 her tomb was disturbed by building
work, and around the same time an odd whirring noise began to be heard
in the southwest wing of the palace.

When workmen traced the strange sounds to a brick wall, they uncovered
a small forgotten room containing an old spinning wheel, just like the
one Penn used to use.

Henry's fifth wife, Catherine Howard, condemned for adultery, was held
at the palace under house arrest before her execution at the Tower of
London. An 1897 book about the palace says she was reportedly seen,
dressed in white and floating down one of the galleries uttering
unearthly shrieks.

The palace was once a prison for King Charles I, who later was
beheaded, and then home to his nemesis Oliver Cromwell, who briefly
ruled when Britain was for a short time a republic.

--+---+---+---+---+---+---+---+---+---+---
From: jen funk segrest <jen@verybigdesign.com>
--+---+---+---+---+---+---+---+---+---+---


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In a message dated 12/20/2003 6:33:12 AM Mountain Standard Time, 
drewscph@post12.tele.dk writes:

> This is a CNN story, so it must be the trouth.
> A ghost catched by camera at Hampton Court in period costume.
> Wich period is it?
> 

OK, Bjarne: Does Europe really think that if it's CNN, it must be true?

 <<shoes a photograph that (to me) looks like a guy in a
cheesy costume.>>

And the picture is so blurry and in black and white, how can you tell if it 
is cheesy or not?  Looks like he's in a long gowne to me.  Like the one so 
popular throughout the 16th and into the early 17th century.  The story made me 
want to revisit Hampton Court all the more.  (Saving my pennies).

P.S. I hope this becomes a thread.  I will enjoy what the rest of you have to 
say.

Cheryl
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Subject: RE: [h-cost] ghost in period costume
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I thought it looked like the guy from the Scary Movies.

T.

> 
> P.S. I hope this becomes a thread.  I will enjoy what the rest of 
> you have to 
> say.
> 
> Cheryl

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In a message dated 12/20/2003 8:48:17 AM Mountain Standard Time, 
khanson@kc.rr.com writes:

> I thought it looked like the guy from the Scary Movies.
> 
> 

And now that I have revisited it after a good night's sleep, it could just as 
easily be a guy in a bathrobe and a halloween mask.

Cheryl
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Date: Sat, 20 Dec 2003 10:08:52 -0600
Subject: Re: [h-cost] ghost in period costume
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Unfortunately with security camera pics, they are generally of such poor
quality, it's a wonder they are useful for anything at all. It is
definitely a human figure, it looks like it has a robe on like they
generally put the Ghost of Christmas Present in for 'A Christmas Carol',
the face is very white, but with the level of grain in the image, you
can't really see any detail to see if the features are distorted....or
even there! I also wish the image wasn't sideways- it makes interpreting
the information that much more difficult. There have already been several
fires over the years at Hampton Court, so maybe the 'ghost' is just
checking the exits! 

I'll be interested to see if any human involvement comes to light in the
future!


Karen 
who loves loves loves ghosts and hauntings!



On Sat, 20 Dec 2003 10:52:54 EST Cheryldee@aol.com writes:
> In a message dated 12/20/2003 8:48:17 AM Mountain Standard Time, 
> khanson@kc.rr.com writes:
> 
> > I thought it looked like the guy from the Scary Movies.
> > 
> > 
> 
> And now that I have revisited it after a good night's sleep, it 
> could just as 
> easily be a guy in a bathrobe and a halloween mask.
> 
> Cheryl
> _______________________________________________
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> h-costume@mail.indra.com
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> 
> 

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Bjarne og Leif Drews wrote:

> This is a CNN story, so it must be the trouth.
> A ghost catched by camera at Hampton Court in period costume.
> Wich period is it?
> Go to:
> http://www.cnn.com/2003/WORLD/europe/12/19/hampton.ghost.ap/index.html
> 


The picture is so bad it's a wonder they can make anything of it at all. 
  I bet it was a staffer in his raincoat going for a cigarette break.



Dawn



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Cheryl wrote:

> In a message dated 12/20/2003 6:33:12 AM Mountain Standard Time,
> drewscph@post12.tele.dk writes:
>
> > This is a CNN story, so it must be the trouth.
> > A ghost catched by camera at Hampton Court in period costume.
> > Wich period is it?
> >
>
> OK, Bjarne: Does Europe really think that if it's CNN, it must be true?
>
I think Bjarne was kidding.  Too bad the ghost wasn't wearing an exposed bum
roll and the photography wasn't better or some new costuming knowledge would
have been revealed!  ;-)

Lisa


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I can't see a thing.  My computer crashes every time I try the link. 
<<grump>>
I suppose this is the universe's way of telling me to get OFF the
computer and back to work on holiday gifts....
--sue

Cheryldee@aol.com wrote:
> 
> In a message dated 12/20/2003 6:33:12 AM Mountain Standard Time,
> drewscph@post12.tele.dk writes:
> 
> > This is a CNN story, so it must be the trouth.
> > A ghost catched by camera at Hampton Court in period costume.
> > Wich period is it?
> >
> 
> OK, Bjarne: Does Europe really think that if it's CNN, it must be true?
> 
>  <<shoes a photograph that (to me) looks like a guy in a
> cheesy costume.>>
> 
> And the picture is so blurry and in black and white, how can you tell if it
> is cheesy or not?  Looks like he's in a long gowne to me.  Like the one so
> popular throughout the 16th and into the early 17th century.  The story made me
> want to revisit Hampton Court all the more.  (Saving my pennies).
> 
> P.S. I hope this becomes a thread.  I will enjoy what the rest of you have to
> say.
> 
> Cheryl
> _______________________________________________
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----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 20, 2003 11:55 AM
Subject: Re: [h-cost] ghost in period costume


> Cheryl wrote:
>
> > In a message dated 12/20/2003 6:33:12 AM Mountain Standard Time,
> > drewscph@post12.tele.dk writes:
> >
> > > This is a CNN story, so it must be the trouth.
> > > A ghost catched by camera at Hampton Court in period costume.
> > > Wich period is it?
> > >
> >
> > OK, Bjarne: Does Europe really think that if it's CNN, it must be true?
> >
> I think Bjarne was kidding.  Too bad the ghost wasn't wearing an exposed
bum
> roll and the photography wasn't better or some new costuming knowledge
would
> have been revealed!  ;-)
>
> Lisa
>
Yeah... I was going to blow up the picture so that I could check his seam
construction! ;-)

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
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I've  actually experienced what I believe to be ghosts----but this cheesy looking picture is certainly NOT what I'd call convincing.
Just my 5 cents worth----
Albra

Cheryldee@aol.com wrote:
In a message dated 12/20/2003 8:48:17 AM Mountain Standard Time, 
khanson@kc.rr.com writes:

> I thought it looked like the guy from the Scary Movies.
> 
> 

And now that I have revisited it after a good night's sleep, it could just as 
easily be a guy in a bathrobe and a halloween mask.

Cheryl
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From: "Nancy  Liedel" <naliedel@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] ghost in period costume
Date: Sat, 20 Dec 2003 12:16:15 -0500
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This was on CNN when I was feeding the baby at 4am this morning. Apparently
it was a robed figure and left a door open. It was caught on a surveillance
tape. 

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From h-costume-bounces@indra.com  Sat Dec 20 12:26:16 2003
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From: "Chiara" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] ghost in period costume
Date: Sat, 20 Dec 2003 11:27:01 -0600
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Well playing around with my art program doing several things to the image
that is provided it sure produces some interesting textures and there are
three very well defined lines running from top to bottom of that image. One
is on either side of the image and one through the center right as you look
at it. And there seems to be another profile of the face just to the left of
the "white mask".

I went back to the original image and sure enough, you can see these three
lines without enhancing. Grant it this is most likely a second generation
image that has been flattened and enhanced for the web and for print but
these lines are most likely made by something eles. Like an glitch in the
camera, or tampering of the image.

But I gotta say, that robe looks like something Scrooge would wear. ;)

Chiara
----- Original Message ----- 
From: "KATHRYN WOLTERS" <albrakat7@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 20, 2003 11:12 AM
Subject: Re: [h-cost] ghost in period costume


: I've  actually experienced what I believe to be ghosts----but this cheesy
looking picture is certainly NOT what I'd call convincing.
: Just my 5 cents worth----
: Albra
:
: Cheryldee@aol.com wrote:
: In a message dated 12/20/2003 8:48:17 AM Mountain Standard Time,
: khanson@kc.rr.com writes:
:
: > I thought it looked like the guy from the Scary Movies.
: >
: >
:
: And now that I have revisited it after a good night's sleep, it could just
as
: easily be a guy in a bathrobe and a halloween mask.
:
: Cheryl
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Nancy Liedel wrote:
> It was caught on a surveillance tape. 

In that case, there should be many frames of it to analyize for 1: 
hoaxes or 2: seam placement!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

And so, faced with shocking lack of documentation, I am forced to invent 
some of my own.  -- Cecil Adams
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From h-costume-bounces@indra.com  Sat Dec 20 17:57:02 2003
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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	<4.3.1.2.20031218111257.057f1180@mail.frys.com>
Subject: It arrived!! Re: [h-cost] Corset Stays - Did they ever use whalebone
	and in BONE?
Date: Sat, 20 Dec 2003 15:03:03 -0800
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Okay, this baleen frond isn't exactly as I imagined.  It is about 1/32 of an
inch thick naturally, I thought it would be thick as well as wide,  which
means all one would have to do is cut it into strips to use, easy!  I doubt
soaking would even be required, just an Xacto blade and metal ruler as Kayta
suggested.  Cable ties are not terribly distant in properties to it,
although the ties are somewhat thicker and more flexible.  I've not seen
artificial whalebone so I cannot comment on the similarity.  I'm not
planning on making whalebone corsets as I don't want to hog the limited
supply of baleen but eventually it will make an appearance at a California
Renaissance faire so a few others can see first hand this.  This is really
exciting!!!

Lisa Sinervo
www.thrednedlestrete.com
www.maninthemoone.com




----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 18, 2003 11:20 AM
Subject: Re: [h-cost] Corset Stays - Did they ever use whalebone and in
BONE?


>
> >Although realistically I doubt I
> >could actually work with baleen as I've been a vegetarian for 27 years
>
> A friend of mine let me look at a baleen bone she had, an antique, and it
> looked and felt like black fingernail.  It was about 1/32 of an inch thick
> and curved across its width like fingernails are.  It was smooth on one
> side, kind of rough on the other but with longitudinal striations, and
> flexible as a long fingernail (well, my thick fingernails
> anyway).  Aparently baleen and fingernails (and rhinoceros horn) are made
> of the same stuff.
>
> If baleen is made of the same stuff as fingernails, soaking it should make
> it a little softer, and it should have a longitudinal grain.  I'd cut it
> with an Xacto knife and metal ruler, and trim the ends with one of those
> big toenail cutters.
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
>
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>


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From h-costume-bounces@indra.com  Sun Dec 21 02:27:42 2003
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Subject: [h-cost] lining a velveteen doublet
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Hi all

I am working on my husband's 1580's doublet, and I want to line it with linen.

I have some light-midweight, but not the sheer kind of linen, that I am 
using for his shirt. It is white. Should I use this for lining the doublet, 
or should I get a heavier linen? Do I need to dye the lining or keep it 
white or natural color? I am concerned with sweat leaching dyes from the 
black velveteen onto the white linen shirt, or even the lining itself.

Oh, the sleeves will be in a crimson silk shantung, also lined. Not sure 
what color for the sleeve linings either, because they will be split down 
the front in a shaped two-piece sleeve. Got to deal with very hot 
California summers (100+).

I plan on interlining with horsehair canvas, like I have always done with 
doublets (great for keeping the shape of the body), but I previously used 
cotton broadcloth for linings, and am not sure how that translates to linen 
linings.

Any other suggestions for the doublet that I may be overlooking?

Thanks in advance, and Happy Holidays!

Kimiko

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

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

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 "Kimiko Small wrote:

> I have some light-midweight, but not the sheer kind of linen, that I am
> using for his shirt. It is white. Should I use this for lining the
doublet,
> or should I get a heavier linen?

Depends on how much body you want the linen to provide.  Hard to answer this
without handling both fabrics.

>Do I need to dye the lining or keep it
> white or natural color? I am concerned with sweat leaching dyes from the
> black velveteen onto the white linen shirt, or even the lining itself.

This might very well happen, but if you dye the lining that dye might leach
onto your light shirt.  I'd probably only dye the lining if I thought bits
of it might show and be distracting to the outer fabric, but this also
depends on how stable the dyeing process is for this particular fabric.  If
stable, then go for it if you'd prefer another colour.

Lisa





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From h-costume-bounces@indra.com  Sun Dec 21 18:19:00 2003
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Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they ever use
	whalebone and in BONE?
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I don't know if anyone has mentioned it, but owning baleen may not be
legal for you even if you got it from a perfectly legal source. It is
legal for Native Americans to own any number of endangered animal parts
where it is not legal for others to do so. A friend of mine was given a
bald eagle feather by a Native American woman who had a perfect right to
own it. Unfortunately my friend was not sufficiently Native American to
be able to own one and he promptly had it confiscated by Fish and Game
when he wore it to a Rendezvous. I believe that he was able to avoid any
fines or legal problems as he had gotten it from a legal owner, but he
was NOT allowed to keep the feather. I don't know how or if this applies
to baleen, but you might want to check it out before you start using it
as part of a public demonstration.


Karen the Cautious

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From h-costume-bounces@indra.com  Sun Dec 21 18:28:24 2003
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References: <20031221.171136.-519865.0.Seamstrix@juno.com>
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they ever
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Good advice!  I'll do some checking.  You know, I'm just satisfied that I
know what the properties of baleen are.  It's very hard to find a substitute
for something if you don't know what the original is like.  Now I know and
that's enough for me.  Would be nice if others could experience this too,
but I'm more than willing to play by the rules on this one!

Lisa
----- Original Message -----
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Sunday, December 21, 2003 3:11 PM
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they ever
usewhalebone and in BONE?


> I don't know if anyone has mentioned it, but owning baleen may not be
> legal for you even if you got it from a perfectly legal source. It is
> legal for Native Americans to own any number of endangered animal parts
> where it is not legal for others to do so. A friend of mine was given a
> bald eagle feather by a Native American woman who had a perfect right to
> own it. Unfortunately my friend was not sufficiently Native American to
> be able to own one and he promptly had it confiscated by Fish and Game
> when he wore it to a Rendezvous. I believe that he was able to avoid any
> fines or legal problems as he had gotten it from a legal owner, but he
> was NOT allowed to keep the feather. I don't know how or if this applies
> to baleen, but you might want to check it out before you start using it
> as part of a public demonstration.
>
>
> Karen the Cautious
>
> ________________________________________________________________
> 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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> http://mail.indra.com/mailman/listinfo/h-costume
>


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Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they ever
	usewhalebone and in BONE?
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I totally agree with you there. If you are able to use it as part of a
demonstration, I would love to see it. I have been experimenting with the
cable-tie thing with the idea that they more closely match period
'boning' materials, but it's really just a theory as you have pointed
out. I was discussing this with a lady last year and she was agast that I
would use such an un-authentic material as PLASTIC to make a period
(Elizabethan) corset. I then pointed out that the Elizabethans didn't use
metal bones, they used whalebone and/or reed which have very different
properties from flat metal stays so the metal ones weren't really any
more authentic. It would be great to have the definitive word on what the
correct sort of stiffening should look and feel like.

Karen


On Sun, 21 Dec 2003 15:35:07 -0800 "Lisa Sinervo"
<Lisa-list@thrednedlestrete.com> writes:
> Good advice!  I'll do some checking.  You know, I'm just satisfied 
> that I
> know what the properties of baleen are.  It's very hard to find a 
> substitute
> for something if you don't know what the original is like.  Now I 
> know and
> that's enough for me.  Would be nice if others could experience this 
> too,
> but I'm more than willing to play by the rules on this one!
> 
> Lisa

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	usewhalebone and in BONE?
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>From a brief look at some government sites, it looks okay to have this piece
for educational purposes, which is my intent.  But I think something in
writing from the Fish and Game department would be best to have on hand.
Thanks for the heads up though.

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Sunday, December 21, 2003 3:11 PM
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they ever
usewhalebone and in BONE?


> I don't know if anyone has mentioned it, but owning baleen may not be
> legal for you even if you got it from a perfectly legal source. It is
> legal for Native Americans to own any number of endangered animal parts
> where it is not legal for others to do so. A friend of mine was given a
> bald eagle feather by a Native American woman who had a perfect right to
> own it. Unfortunately my friend was not sufficiently Native American to
> be able to own one and he promptly had it confiscated by Fish and Game
> when he wore it to a Rendezvous. I believe that he was able to avoid any
> fines or legal problems as he had gotten it from a legal owner, but he
> was NOT allowed to keep the feather. I don't know how or if this applies
> to baleen, but you might want to check it out before you start using it
> as part of a public demonstration.
>
>
> Karen the Cautious
>
> ________________________________________________________________
> 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!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>


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	everusewhalebone and in BONE?
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Karen wrote:

>. I was discussing this with a lady last year and she was agast that I
> would use such an un-authentic material as PLASTIC to make a period
> (Elizabethan) corset.

ummm, are you five foot four, medium brown hair with green eyes?  If so, I
was NOT the one pulling faces and making snotty comments under my
breath!!!!!!  Oh, maybe it was some other poor sod I insulted, actually it
was Liz, Damn!!!.  No, I was much more outwardly gracious, but I was aghast
at such a suggestion myself.  And now, well, I think cable ties are a pretty
good substitute given the whale/extinction situation.  The ties are not
quite as stiff as the real thing and the striations run the opposite
direction and I suspect the baleen would absorb a bit of moisture but I'd
support cable ties as a respectable substitute now that I've seen the real
thing.

That's all for now!  Will work on getting some permission in writing now.

bye bye....


Lisa - feeling somewhat sheepish!


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From h-costume-bounces@indra.com  Sun Dec 21 19:54:31 2003
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No problem, I was thinking about speaking up but was afraid I was just
being a worry-wart. But then I thought, well what if something bad
happens and I could have helped out and then I felt all obligated and
stuff. Hopefully, there's no cause for worry and your educational efforts
will be rewarded.


Karen



On Sun, 21 Dec 2003 16:31:49 -0800 "Lisa Sinervo"
<Lisa-list@thrednedlestrete.com> writes:
> >From a brief look at some government sites, it looks okay to have 
> this piece
> for educational purposes, which is my intent.  But I think something 
> in writing from the Fish and Game department would be best to have on 
> hand. Thanks for the heads up though.
> 
> Lisa Sinervo
> www.thrednedlestrete.com

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On Sun, 21 Dec 2003 16:53:11 -0800 "Lisa Sinervo"
<Lisa-list@thrednedlestrete.com> writes:
> 
> ummm, are you five foot four, medium brown hair with green eyes?  If 
> so, I was NOT the one pulling faces and making snotty comments under my
> breath!!!!!!  

Hehehehe- no I am 5'7" with long blonde hair and grey-blue eyes


> No, I was much more outwardly gracious, but I was 
> aghast at such a suggestion myself.  And now, well, I think cable ties
are 
> a pretty
> good substitute given the whale/extinction situation.  The ties are 
> not quite as stiff as the real thing and the striations run the 
> opposite direction and I suspect the baleen would absorb a bit of
moisture > but I'd support cable ties as a respectable substitute now
that I've seen 
> the real thing.

That's my feel. It's not perfect, but it's much closer to the period
effect we are trying to mimic and it's not made from an endangered
species. Plus if you re-use cable ties, you are being ecologically
responsible and recycling.

 
> Lisa - feeling somewhat sheepish!

At least you are willing to admit being incorrect, learn, and develop
your knowledge. Not everyone is. Take some credit for that. 8-)



Karen

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From h-costume-bounces@indra.com  Sun Dec 21 20:14:51 2003
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> Good advice!  I'll do some checking.  You know, I'm just satisfied
> that I know what the properties of baleen are.  It's very hard to find
> a substitute for something if you don't know what the original is
> like.  Now I know and that's enough for me.  Would be nice if others
> could experience this too, but I'm more than willing to play by the
> rules on this one!

It's very good advice. I looked into doing a whalebone corset for 
this purpose and they like you to have written permission to have the 
whalebone. (That was about 4 years ago and things may have changed, 
but probably not.)

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Sun Dec 21 20:36:58 2003
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oh no, I very much appreciate your comments.  Thanks again!

Lisa SInervo


----- Original Message -----
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Sunday, December 21, 2003 4:49 PM
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they
everusewhalebone and in BONE?


> No problem, I was thinking about speaking up but was afraid I was just
> being a worry-wart. But then I thought, well what if something bad
> happens and I could have helped out and then I felt all obligated and
> stuff. Hopefully, there's no cause for worry and your educational efforts
> will be rewarded.
>
>
> Karen
>
>
>
> On Sun, 21 Dec 2003 16:31:49 -0800 "Lisa Sinervo"
> <Lisa-list@thrednedlestrete.com> writes:
> > >From a brief look at some government sites, it looks okay to have
> > this piece
> > for educational purposes, which is my intent.  But I think something
> > in writing from the Fish and Game department would be best to have on
> > hand. Thanks for the heads up though.
> >
> > Lisa Sinervo
> > www.thrednedlestrete.com
>
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
> Surf the web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
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Kat wrote:
>
> It's very good advice. I looked into doing a whalebone corset for
> this purpose and they like you to have written permission to have the
> whalebone. (That was about 4 years ago and things may have changed,
> but probably not.)
>
Did you ever make the corset?  I suspect baleen would be wonderful to work
with..  Sounds quite reasonable to me for the Fish and Game department to
want permission to be in writing.

Lisa Sinervo
www.thrednedlestrete.com



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I found this on owning baleen it has to do with taxidermy but it addresses
owning baleen  http://snipurl.com/3ied


Bice
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, 21 December, 2003 8:56 PM
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Didtheyever
usewhalebone and in BONE?


> Kat wrote:
> >
> > It's very good advice. I looked into doing a whalebone corset for
> > this purpose and they like you to have written permission to have the
> > whalebone. (That was about 4 years ago and things may have changed,
> > but probably not.)
> >
> Did you ever make the corset?  I suspect baleen would be wonderful to work
> with..  Sounds quite reasonable to me for the Fish and Game department to
> want permission to be in writing.
>
> Lisa Sinervo
> www.thrednedlestrete.com
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
_______________________________________________
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And also this  http://www.boonetrading.com/Pg18.html


Bice
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, 21 December, 2003 8:56 PM
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Didtheyever
usewhalebone and in BONE?


> Kat wrote:
> >
> > It's very good advice. I looked into doing a whalebone corset for
> > this purpose and they like you to have written permission to have the
> > whalebone. (That was about 4 years ago and things may have changed,
> > but probably not.)
> >
> Did you ever make the corset?  I suspect baleen would be wonderful to work
> with..  Sounds quite reasonable to me for the Fish and Game department to
> want permission to be in writing.
>
> Lisa Sinervo
> www.thrednedlestrete.com
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
_______________________________________________
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From h-costume-bounces@indra.com  Sun Dec 21 21:51:15 2003
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> Did you ever make the corset?  I suspect baleen would be wonderful to
> work with..  Sounds quite reasonable to me for the Fish and Game
> department to want permission to be in writing.

No, I never made it because I never got enough baleen to do so. I 
have one small piece which was given to me by one of the ladies in 
the Millinery shop in Williamsburg which I use for teaching (for my 
corset classes and Renaissance Women's Underwear class). But I'm very 
careful not to take it across any borders (especially not to Canada, 
for instance) just in case. It was the lady who gave it to me who 
warned me that the permission was needed. As I recall, it is exempt 
if it came from a source such as a Victorian corset (which of course, 
I never found. Just ones with steel stays.) But newer than the 
antique stuff needed the permission letter.

Of course, thanks to this list I realize that using bones from an old 
corset would probably be a bad idea because they would be more 
brittle now and more likely to shatter (and possibly pierce soft body 
parts). 

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Sun Dec 21 22:11:25 2003
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Thanks for posting the website!  It is a real treasure, especially since I'm making a caftan for my mom as a Christmas present.  

Ingrid-Thanks for the translation!  I wonder if you could do me a massive favor and translate the section titled "Vad har horn over?"  The url is -http://www.historiska.se/histvarld/eng/drakter/vkvinna/vkvinfr.htm

Thanks!
Katie

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






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

DATE: Mon, 1 Dec 2003 23:10:22 
From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Cc: 

>On Monday 01 December 2003 11:30 am, Joanna Hobbins wrote:
>> Some parts of the website have been officially translated into english.
>>
>> http://www.historiska.se/histvarld/eng/drakt.htm
>>
>> I have no idea how to get to the english page from the main site
>> unfortunately, or even if other parts of the site are in english.
>
>Thanks for finding this!
>
>I went to the URL you found, and it showed the page with the links to pictures 
>of the costume reproductions in English.  I went to the page for the "Viking 
>noble woman," and the introductory page was in English, but the pages for the 
>different items of her costume were not.  Sigh.
>
>-- 
>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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--------- Original Message ---------

DATE: Thu, 11 Dec 2003 00:44:30
From: Kimiko Small <kimiko@kimiko1.com>
To: Historical Costume <h-costume@indra.com>
Cc: 
I have been wanting to try doll dresses, but don't want to shell 
>out for a new Barbie that will just end up being >modified in major ways. 

Are there any Big Lots stores in your area?  Around here ("here" being the metro-Phoenix AZ area) all of the Big Lots stores have *stacks* of Barbies (in blonde and brunette) for $4.  

-Katie

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






>
>
>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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I need a ruff to complete my Elizabethian outfit, and I'm not looking forward to making it since I hate pleating with a purple passion.

*So*

Does anyone know of anyone who will make a ruff for a reasonable price?

-Katie


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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On Sunday 21 December 2003 11:04 pm, Katie Lewis wrote:
> I need a ruff to complete my Elizabethian outfit, and I'm not looking
> forward to making it since I hate pleating with a purple passion.
>
> *So*
>
> Does anyone know of anyone who will make a ruff for a reasonable price?

Depends on what you consider reasonable.

This woman will make you one for $75:

http://www.relaypoint.net/~pgluck/creativecostumes/blue_ren_woman/ruff_1.html

Valentine Armouries will sell you one for $48, but it closes in back with 
Velcro:

http://www.varmouries.com/cloth/ccloth06.html
-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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At 11:04 PM 12/21/2003 -0500, you wrote:
>I need a ruff to complete my Elizabethian outfit, and I'm not looking 
>forward to making it since I hate pleating with a purple passion.
>
>*So*
>
>Does anyone know of anyone who will make a ruff for a reasonable price?
>
>-Katie


What kind of ruff are you looking for? As in how historically accurate, 
what type of lace, and what price range?

I have made a couple of ruffs myself, but mine are commercial lace tied 
with grosgrain ribbon ties, and nothing fancy.

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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At 12:26 AM 12/22/2003 -0500, you wrote:
>This woman will make you one for $75:
>
>http://www.relaypoint.net/~pgluck/creativecostumes/blue_ren_woman/ruff_1.html
>
>Valentine Armouries will sell you one for $48, but it closes in back with
>Velcro:
>
>http://www.varmouries.com/cloth/ccloth06.html


Looks like both are closed in the back with velcro.

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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In a message dated 12/21/2003 7:56:15 PM Eastern Standard Time, seamstrix@juno.com writes:

> Plus if you re-use cable ties, you are being ecologically
> responsible and recycling.

What exactly do you mean by cable ties?  I may have caught this thread a little late, but I'm not quite sure I know what you mean?  Are you talking what I refer to as "zip ties"?

Confused in CA...Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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----- Original Message ----- 
From: "Katie Lewis" <katie_lewis@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, December 21, 2003 10:47 PM
Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths


> --------- Original Message ---------
>
> DATE: Thu, 11 Dec 2003 00:44:30
> From: Kimiko Small <kimiko@kimiko1.com>
> To: Historical Costume <h-costume@indra.com>
> Cc:
> I have been wanting to try doll dresses, but don't want to shell
> >out for a new Barbie that will just end up being >modified in major ways.
>
> Are there any Big Lots stores in your area?  Around here ("here" being the
metro-Phoenix AZ area) all of the Big Lots stores have *stacks* of Barbies
(in blonde and brunette) for $4.
>
> -Katie
>


To heck with even Big Lots, get thee to a thrift shop!  Lots of Barbies
there.

Dianne

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Some folks do call them 'zip ties'. I learned to call them 'cable ties' and 'electricians' ties' because they were used to 'cinch up'  ,and hold in tidy rows, the thousands of miles of cabling between the huge distributing frames and the relay racks full of telephone equipment in the local central offices I used to work in. We used quite a few of them when I was employed by Verizon communications. Probably 20 years ago, when I was looking for a good alternative to whalebone for my corsets, I hit on these cables ties as a  suitable 'boneing' substitute.I figured that something that could cinch in a few hundred pounds of heavy cabling would probably cinch me in as well:)  Our crews would go thru lterally hundreds of them , whenever new equipment was built in---and I soon had the construction crew folks trained to save me the long tails they would cut off after they had cinched the new cables into place:)  Heh! I've got enough old cable tie ends collected to probably make anoth!
 er 30
 corsets. One can also buy  cable ties  at home improvement or electrical supply stores in bags of 20,50, or 100. My favorite size is the long black 5/8 inch wide size. The smaller 3/8 inch ones I've used for 18th century stays, as well as a couple of Edwardians. I love the way I can literally 'wash and wear' corsets made with these cable ties. The dryer does'nt even seem to bother it adversely. I've got an Edwardian corset made of  the narrower 3/8 cable ties that is 15 years old--and only now wearing out.
Albra
  

MysticsLady9@aol.com wrote:
In a message dated 12/21/2003 7:56:15 PM Eastern Standard Time, seamstrix@juno.com writes:

> Plus if you re-use cable ties, you are being ecologically
> responsible and recycling.

What exactly do you mean by cable ties? I may have caught this thread a little late, but I'm not quite sure I know what you mean? Are you talking what I refer to as "zip ties"?

Confused in CA...Laura
"Never interrupt your enemy while he is making a mistake" Napoleon Bonaparte
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On Sun, 21 Dec 2003, Katie Lewis wrote:
> Ingrid-Thanks for the translation!  I wonder if you could do me a
> massive favor and translate the section titled "Vad har horn over?"  

Hi, Katie! I did post a translation of that a couple of days after the 
first one - if you missed that post let me know, and I'll send it to 
you privately (including the changes suggested by list members). :)

Ingrid

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I see them on ebay all the time. Maybe check there? :)

----- Original Message ----- 
From: "Katie Lewis" <katie_lewis@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, December 21, 2003 11:04 PM
Subject: [h-cost] Ruffs


> I need a ruff to complete my Elizabethian outfit, and I'm not looking
forward to making it since I hate pleating with a purple passion.
>
> *So*
>
> Does anyone know of anyone who will make a ruff for a reasonable price?
>
> -Katie
>
>
> ____________________________________________________________
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Subject: Re: [h-cost] ghost in period costume
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>>>>>>>>
Unfortunately with security camera pics, they are generally of such poor
quality, it's a wonder they are useful for anything at all. It is
definitely a human figure, it looks like it has a robe on like they
generally put the Ghost of Christmas Present in for 'A Christmas Carol',
the face is very white, but with the level of grain in the image, you
can't really see any detail to see if the features are distorted....or
even there! 

>>>>>>>>>

When I looked at the picture, I wondered how the security lighting is 
arranged there -- it looks like light glare on the face to me.  Unfortunately we'd 
need a better camera to tell anything.  OT but related to the comments on 
security cameras, we're in the middle of trials for a multiple murder in my state, 
and one of the defense lawyers argued that the charges should be thrown out 
because the security camera footage didn't prove beyond a reasonable doubt that 
his client was in the bank at the time of the shootings.  ((Didn't work, though 
the pictures _weren't_ the best they were better quality than the ghost photo 
from CNN.))

Leah
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KATHRYN WOLTERS  wrote:
 corsets. One can also buy  cable ties  at home improvement or electrical
supply stores in bags of 20,50, or 100. My favorite size is the long black
5/8 inch wide size. The smaller 3/8 inch ones I've used for 18th century
stays, as well as a couple of Edwardians. I love the way I can literally
'wash and wear' corsets made with these cable ties. The dryer does'nt even
seem to bother it adversely. I've got an Edwardian corset made of  the
narrower 3/8 cable ties that is 15 years old--and only now wearing out..
> Albra
>
I'd say that baleen is to cable ties as wool is to acrylic.  Definetly not
the same product, but enough similarities to make a reasonable substitute.

Lisa Sinervo


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From: Gia_Gavino@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] lining a velveteen doublet
Date: Mon, 22 Dec 2003 14:47:54 +0000
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Greetings!  Usually I snip messages for brevity, but you ask important questions.

If you don't have a copy of Janet Arnolds Patterns of Fashion (JA PaF)for this period, it would be helpful for future sewing questions.  Cotton broadcloth does not translate as truly equal to linen.  It doesn't 'breathe' or provides 'wicking' effects like linen does.


For lining the doublet:  From personal experience, I found that using a light weight (hanky weight) is NOT strong enough for the heavy wear that will occur...especially for a men's doublet!  Please, take my advice and do not use the white linen you plan for the shirt for lining the doublet.  Also, in JA PaF you will see that the lining is usually heavier weight than the shirt linen.  

I've used the 100% mid weight (what some call "bottom" or pant/skirt weight) linen for better success.  Just be sure to that if it seems to be more open weave than will easily take button hole stitching, that it is pre-washed in hot and dried in hot.

For the sleeves, try to use a silk that is a match or a nice contrast, good weight is bridal silk satin.  You lord might find it easier to get in and out of the sleeves, since the sleeves are to look like tight fitting...and the sleeves are split, the silk looks like the sleeves can be reversed (or maybe they could be reversible, depending on how they are constructed, and attached to the body)  

If my memory serves me right, in JA PoF it appeared that the linings are not dyed.  I don't have the book in front of me...and it's still in a box...somewhere.  Can anyone refresh my memory here?

Try to use twill tape to reinforce the arm hole of the body, especially at the  underarm front/back, if the sleeves are detatchable.  This will help the arm hole maintain it's shape and not 'stretch' with wear.  

What you use for hand buttonhole stitching matters.  If you have not done hand buttonholes before, practice the stitching on the fabrics 'sandwiched' together as if all sewn together. I cheat on button holes.  Often I will use the machine buttonholer to give me the 'undersupport' for doing the actual hand stitched buttonholes.  Find the buttonhole size on the machine, a tiny bit larger than what you need.  Stitch ONCE (don't worry, it should look crappy), slit the buttonhole, and then handstitch the buttonhole over the prepared area.


Anyhow, this all I have time for...I hope it helps...

Gia/Giacinta
> Hi all
> 
> I am working on my husband's 1580's doublet, and I want to line it with linen.
> 
> I have some light-midweight, but not the sheer kind of linen, that I am 
> using for his shirt. It is white. Should I use this for lining the doublet, 
> or should I get a heavier linen? Do I need to dye the lining or keep it 
> white or natural color? I am concerned with sweat leaching dyes from the 
> black velveteen onto the white linen shirt, or even the lining itself.
> 
> Oh, the sleeves will be in a crimson silk shantung, also lined. Not sure 
> what color for the sleeve linings either, because they will be split down 
> the front in a shaped two-piece sleeve. Got to deal with very hot 
> California summers (100+).
> 
> I plan on interlining with horsehair canvas, like I have always done with 
> doublets (great for keeping the shape of the body), but I previously used 
> cotton broadcloth for linings, and am not sure how that translates to linen 
> linings.
> 
> Any other suggestions for the doublet that I may be overlooking?

> 
> Thanks in advance, and Happy Holidays!
> 
> 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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Dianne & Greg Stucki wrote:


> To heck with even Big Lots, get thee to a thrift shop!  Lots of Barbies
> there.
> 

And dollar stores. Well, they aren't Mattel "Barbie", but the one shop 
near me has some gorgeous knockoffs with thigh length red hair....



Dawn



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I don't know if you have one near you, but those outlet mall places often
have a toy liquidator type store. I saw some of the pricey barbies there
(the $100 and up ones) for something like $30 if I recall correctly. Regular
barbies were really cheap too. I would *love* to collect Barbies or make
historical clothing for them... but that would mean I would have to get rid
of stuff I already have to make room. Translated, that means I would have to
lighten my personal fabric stash and you know THAT isn't going to happen!
;-)

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 22, 2003 11:25 AM
Subject: Re: [h-cost] Pop Culture Continues to Perpetrate Costume Myths


> Dianne & Greg Stucki wrote:
>
>
> > To heck with even Big Lots, get thee to a thrift shop!  Lots of Barbies
> > there.
> >
>
> And dollar stores. Well, they aren't Mattel "Barbie", but the one shop
> near me has some gorgeous knockoffs with thigh length red hair....
>
>
>
> Dawn
>
>
>
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>

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From h-costume-bounces@indra.com  Mon Dec 22 11:56:36 2003
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	everusewhalebone and in...
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So, you wouldn't bundle these as you would a reed corset, but use them flat 
(especially if they're 5/8" thick), as you would metal boning.  Very 
interesting.  How well does this do away with the hip and under-arm pinching?  Tabbed 
corsets?



Laura, very interested now
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From h-costume-bounces@indra.com  Mon Dec 22 12:29:35 2003
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Well,  first, I should clarify that --the cable ties I like to  use most are 5/8 in width, width being  when you look at them straight on, but actually in depth, maybe 1/5 of an inch thick. And yes, I use them flat, as one would with metal boning. Having said that, I find that as long as I am careful not to cut my armholes too high --they don't pinch, also as long as the corset is interlined with a firm fabric those sharp ends won't poke thru either. I'm thinking of dipping the ends in fingernail polish to see how well that coats the ends for my next corset(which I need to be doing in the next day or so!) As to tabbed corsets, I simply extend the the 'bones' into the hip tabs,side , front and back ,which I cut into the shape of the pattern. They comfortably smooth without binding.
Hope this helps--
Albra

MysticsLady9@aol.com wrote:
So, you wouldn't bundle these as you would a reed corset, but use them flat 
(especially if they're 5/8" thick), as you would metal boning. Very 
interesting. How well does this do away with the hip and under-arm pinching? Tabbed 
corsets?



Laura, very interested now
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Yes it did help immensely, Albra, thank you.

Laura
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KATHRYN WOLTERS wrote:

>   I'm thinking of dipping the ends in fingernail

polish to see how well that coats the ends for my next corset(which I 
need to be

doing in the next day or so!)



I don't think you'll see good long-term results with nail polish. I used 
it once, as a teenager, for a protective coating on a metal statuette to 
keep it from tarnishing. It worked for a while, but after a couple 
months I noticed the coating was coming off. The piece hadn't been 
handled, and I would swear the stuff was *evaporating*. It seemed to 
shrink and get thinner then disappear completely.


If you want something cheap to dip into, you might try 2-part epoxy. 
Stinks to high heaven, but after you get it mixed and dipped it will dry 
like cement.



Dawn


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] ghost in period costume
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Lisa wrote:
> I think Bjarne was kidding.  Too bad the ghost wasn't wearing an exposed bum
> roll and the photography wasn't better or some new costuming knowledge would
> have been revealed!  ;-)

Speaking of exposed bumrolls... two nights ago I saw a wonderful picture
showing a group of late 16th century ladies in various states of
undress, showing their french farthingales in such excellent detail that
we could see all the construction methods and everything.  As soon as I
saw it I thought "I must post this to the h-cost list! They'll be so
excited!"

The downside?  It was a fever dream.  I've been ill.

Sigh.

K.

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In a message dated 12/22/2003 10:53:54 AM Pacific Standard Time, 
skud@infotrope.net writes:
Speaking of exposed bumrolls... two nights ago I saw a wonderful picture
showing a group of late 16th century ladies in various states of
undress, showing their french farthingales in such excellent detail that
we could see all the construction methods and everything.  
The downside?  It was a fever dream.  I've been ill.

K!  You big tease!

Laura
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: It arrived!! Re: [h-cost] Corset Stays - 
Date: Mon, 22 Dec 2003 13:53:56 -0600
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Also at the hardware store- "Dip-It" a can of goo for covering tool
handles.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Dawn
Sent: Monday, December 22, 2003 11:53 AM
To: Historical Costume
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they
everusewhaleboneand in...

KATHRYN WOLTERS wrote:

>   I'm thinking of dipping the ends in fingernail

polish to see how well that coats the ends for my next corset(which I 
need to be

doing in the next day or so!)



I don't think you'll see good long-term results with nail polish. I used

it once, as a teenager, for a protective coating on a metal statuette to

keep it from tarnishing. It worked for a while, but after a couple 
months I noticed the coating was coming off. The piece hadn't been 
handled, and I would swear the stuff was *evaporating*. It seemed to 
shrink and get thinner then disappear completely.


If you want something cheap to dip into, you might try 2-part epoxy. 
Stinks to high heaven, but after you get it mixed and dipped it will dry

like cement.



Dawn


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From h-costume-bounces@indra.com  Mon Dec 22 15:41:07 2003
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Date: Mon, 22 Dec 2003 12:37:17 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Cable ties, was RE: It arrived!! Re: [h-cost] Corset Stays - 
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Actually, if you simply round the cut ends of the cable lies with shears or 
a file you don't need to have *any* kind of coating. The plastic of the 
cable ties is not hard enough to cut through coutil (which is what I use 
for my corsets).
Joan in Sacramento, CA

At 01:53 PM 12/22/2003 -0600, you wrote:
>Also at the hardware store- "Dip-It" a can of goo for covering tool
>handles.
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
>On Behalf Of Dawn
>Sent: Monday, December 22, 2003 11:53 AM
>To: Historical Costume
>Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they
>everusewhaleboneand in...
>
>KATHRYN WOLTERS wrote:
>
> >   I'm thinking of dipping the ends in fingernail
>
>polish to see how well that coats the ends for my next corset(which I
>need to be
>
>doing in the next day or so!)
>
>
>
>I don't think you'll see good long-term results with nail polish. I used
>
>it once, as a teenager, for a protective coating on a metal statuette to
>
>keep it from tarnishing. It worked for a while, but after a couple
>months I noticed the coating was coming off. The piece hadn't been
>handled, and I would swear the stuff was *evaporating*. It seemed to
>shrink and get thinner then disappear completely.
>
>
>If you want something cheap to dip into, you might try 2-part epoxy.
>Stinks to high heaven, but after you get it mixed and dipped it will dry
>
>like cement.
>
>
>
>Dawn
>
>
>_______________________________________________
>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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	they	everusewhalebone and in...
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>  I'm thinking of dipping the
> ends in fingernail polish to see how well that coats the ends for my
> next corset(which I need to be doing in the next day or so!) 

There is a dip meant for tools which works if you can't find bone 
dipping stuff. But interestingly, I found out that the bone dipping 
stuff is just acrylic paint. So you could get a tube of white acrylic 
paint and dip it in that, let it dry and dip it again to get the same 
effect. (It should be dipped many times for best effect rather than 
just put on thickly.)

I sometimes use fingernail polish but it takes a lot more dipping in 
that to get it coated well enough. Again, if you put it on too thick 
it tends to come off (cracks) and chew things up.

> Very interesting. How well does this do away with the hip and
> under-arm pinching? Tabbed corsets?

I've found that the most common reason for underarm pinching is that 
the corset is cut down too far on the hip at the sides. While for 
many styles you want to have the front quite a deep V, it shouldn't 
be longer than the distance from your underarm to the bottom of your 
rib cage on the sides. Otherwise when you move, it will dig into your 
hips, which in turn pushes it up into your armpit, both of which are 
uncomfortable.

Tabbing on the corset can help some, but not all corsets were tabbed. 
And those who were tabbed do not all have boning in their tabs. Look 
at the time period of corset you are trying to duplicate to know if 
it should be tabbed or not, and if bones should extend into those 
tabs.

If you do have tabs which are boned, then you need to have the tabs 
extend way down over the hips. Otherwise they tend to lift when you 
move, then jab down onto the hip (and then up into your armpit as 
with a corset which is too long on the sides but untabbed.)

Kat
<kat@redtrollforge.com>


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Subject: RE: It arrived!! Re: [h-cost] Corset Stays - 
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Ohhhh--- new options to consider---Dip-It and 2- part epoxy. I actually had wondered how well the fingernail polish trick was going to work on plastic, anyway. After your suggestions, I think I may just pick up both the of the other 2 products and do some experiements. I  promise I'll report back with my results as to which product worked the better:) And --since I have to have this corset made VERY soon---you will hopefully hear that report before New Year's:)
Many thanks for all your suggestions!
Albra

Betsy Marshall <betsy@softwareinnovation.com> wrote:
Also at the hardware store- "Dip-It" a can of goo for covering tool
handles.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Dawn
Sent: Monday, December 22, 2003 11:53 AM
To: Historical Costume
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they
everusewhaleboneand in...

KATHRYN WOLTERS wrote:

> I'm thinking of dipping the ends in fingernail

polish to see how well that coats the ends for my next corset(which I 
need to be

doing in the next day or so!)



I don't think you'll see good long-term results with nail polish. I used

it once, as a teenager, for a protective coating on a metal statuette to

keep it from tarnishing. It worked for a while, but after a couple 
months I noticed the coating was coming off. The piece hadn't been 
handled, and I would swear the stuff was *evaporating*. It seemed to 
shrink and get thinner then disappear completely.


If you want something cheap to dip into, you might try 2-part epoxy. 
Stinks to high heaven, but after you get it mixed and dipped it will dry

like cement.



Dawn


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I sometimes use tool dip to dip the ends of corset bones when I have to cut them down.  It's the rubber stuff on the handles of pliers and other tools and you can buy a small can of it in many hardware stores in the tool section.  you just dip the material into it and let it dry.


Jennifer Fleury
Assistant Property Master
"Century City"
Universal Network Television

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There is a product called "Tool Magic" which is a thick liquid rubber.  It
is used on pliers to eliminate the tool marks on jewelry or on other tool
handles to provide a better or a cushioned grip.  You can build up a
thickness by dipping several times, and it's removable, at least on metal.
(I use it on forming pliers.)  A two-ounce jar costs about $5, lasts a long
time, and comes in clear and a variety of colors.  Jewelry suppliers and
hardware stores should have it; here's an on-line source:

http://www.thebeadfactory.com/shopping/tool_magic.html

I think it may work better than nail polish.

             -Helen/Aidan


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: Cable ties, was RE: It arrived!! Re: [h-cost] Corset Stays - 
To: Historical Costume <h-costume@indra.com>
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Well , it's good to know that there *is* a fabric those cable ties won't cut thru:) I've made corsets using everything from thick canvas, to heavy weight linen, heavy satin--and always ended up putting an interling in the main body, as well as bias trim over  the edges to make a nice 'cush' between myself and the cable ties. Even the even fabric after awhile would begin to get cut thru. I'm beginning to think I must be rather rough on my corsets. 
And filing is, by far the cheapest suggestion.
thanks!
Albra

Joan Jurancich <joanmj@surewest.net> wrote:
Actually, if you simply round the cut ends of the cable lies with shears or 
a file you don't need to have *any* kind of coating. The plastic of the 
cable ties is not hard enough to cut through coutil (which is what I use 
for my corsets).
Joan in Sacramento, CA

At 01:53 PM 12/22/2003 -0600, you wrote:
>Also at the hardware store- "Dip-It" a can of goo for covering tool
>handles.
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
>On Behalf Of Dawn
>Sent: Monday, December 22, 2003 11:53 AM
>To: Historical Costume
>Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they
>everusewhaleboneand in...
>
>KATHRYN WOLTERS wrote:
>
> > I'm thinking of dipping the ends in fingernail
>
>polish to see how well that coats the ends for my next corset(which I
>need to be
>
>doing in the next day or so!)
>
>
>
>I don't think you'll see good long-term results with nail polish. I used
>
>it once, as a teenager, for a protective coating on a metal statuette to
>
>keep it from tarnishing. It worked for a while, but after a couple
>months I noticed the coating was coming off. The piece hadn't been
>handled, and I would swear the stuff was *evaporating*. It seemed to
>shrink and get thinner then disappear completely.
>
>
>If you want something cheap to dip into, you might try 2-part epoxy.
>Stinks to high heaven, but after you get it mixed and dipped it will dry
>
>like cement.
>
>
>
>Dawn
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>_______________________________________________
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Helen--
thanks for the link to that great site:) I not only ordered theTool Magic, but also some of the silver and gold wire I had run out of for my christmas projects---
Albra
(who gets sidetracked all too easily)

Helen Pinto <hpinto@mindspring.com> wrote:
There is a product called "Tool Magic" which is a thick liquid rubber. It
is used on pliers to eliminate the tool marks on jewelry or on other tool
handles to provide a better or a cushioned grip. You can build up a
thickness by dipping several times, and it's removable, at least on metal.
(I use it on forming pliers.) A two-ounce jar costs about $5, lasts a long
time, and comes in clear and a variety of colors. Jewelry suppliers and
hardware stores should have it; here's an on-line source:

http://www.thebeadfactory.com/shopping/tool_magic.html

I think it may work better than nail polish.

-Helen/Aidan


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Subject: [h-cost] ancient textiles book on ebay
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There is a book I can across on ebay on "ancient danish textiles"  The
price it cheap, not a period I am interested in but thought some of you
might be:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=362&item=2583025807

Katy

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they
	everusewhalebone and in...
Date: Mon, 22 Dec 2003 14:55:35 -0800
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How much bulk do they add to the body of the corset?


On Dec 22, 2003, at 9:24 AM, KATHRYN WOLTERS wrote:

> Well,  first, I should clarify that --the cable ties I like to  use 
> most are 5/8 in width, width being  when you look at them straight on, 
> but actually in depth, maybe 1/5 of an inch thick. And yes, I use them 
> flat, as one would with metal boning. Having said that, I find that as 
> long as I am careful not to cut my armholes too high --they don't 
> pinch, also as long as the corset is interlined with a firm fabric 
> those sharp ends won't poke thru either. I'm thinking of dipping the 
> ends in fingernail polish to see how well that coats the ends for my 
> next corset(which I need to be doing in the next day or so!) As to 
> tabbed corsets, I simply extend the the 'bones' into the hip tabs,side 
> , front and back ,which I cut into the shape of the pattern. They 
> comfortably smooth without binding.
> Hope this helps--
> Albra
>
> MysticsLady9@aol.com wrote:
> So, you wouldn't bundle these as you would a reed corset, but use them 
> flat
> (especially if they're 5/8" thick), as you would metal boning. Very
> interesting. How well does this do away with the hip and under-arm 
> pinching? Tabbed
> corsets?
>
>
>
> Laura, very interested now
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> ---------------------------------
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> New Yahoo! Photos - easier uploading and sharing
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: It arrived!! Re: [h-cost] Corset Stays - Did they
	everusewhalebone and in...
To: Historical Costume <h-costume@indra.com>
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Well, I just re-measured , and the thickness is a  bit  more than 1/10 of an inch--on a ca tie that so calculate that plus 3 layers of your choice of fabrics----
Albra

Heather Meadows <alice@wonderland.com> wrote:
How much bulk do they add to the body of the corset?


On Dec 22, 2003, at 9:24 AM, KATHRYN WOLTERS wrote:

> Well, first, I should clarify that --the cable ties I like to use 
> most are 5/8 in width, width being when you look at them straight on, 
> but actually in depth, maybe 1/5 of an inch thick. And yes, I use them 
> flat, as one would with metal boning. Having said that, I find that as 
> long as I am careful not to cut my armholes too high --they don't 
> pinch, also as long as the corset is interlined with a firm fabric 
> those sharp ends won't poke thru either. I'm thinking of dipping the 
> ends in fingernail polish to see how well that coats the ends for my 
> next corset(which I need to be doing in the next day or so!) As to 
> tabbed corsets, I simply extend the the 'bones' into the hip tabs,side 
> , front and back ,which I cut into the shape of the pattern. They 
> comfortably smooth without binding.
> Hope this helps--
> Albra
>
> MysticsLady9@aol.com wrote:
> So, you wouldn't bundle these as you would a reed corset, but use them 
> flat
> (especially if they're 5/8" thick), as you would metal boning. Very
> interesting. How well does this do away with the hip and under-arm 
> pinching? Tabbed
> corsets?
>
>
>
> Laura, very interested now
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> ---------------------------------
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> New Yahoo! Photos - easier uploading and sharing
> _______________________________________________
> 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 Dec 22 22:54:59 2003
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Subject: [h-cost] Sesame Street fabric
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I don't remember who was looking for Sesame Street
fabric but my local Hobby Lobby just got in a bolt of
Sesame Street characters on flannel.
                           Cassandra

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Kirrily wrote:
> 
> Speaking of exposed bumrolls... two nights ago I saw a wonderful picture
> showing a group of late 16th century ladies in various states of
> undress, showing their french farthingales in such excellent detail that
> we could see all the construction methods and everything.  As soon as I
> saw it I thought "I must post this to the h-cost list! They'll be so
> excited!"
> 
> The downside?  It was a fever dream.  I've been ill.
> 
Oh don't you just hate that when that happens!!!  ;-)

Lisa


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Subject: RE: [h-cost] ghost in period costume
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Ghost in a pic? Like that thing thrashing around the Internet?

Of all the photos and all the directions to be facing and all the times over
all the shoulders and all the photographic compositions, the ghost had to
choose this one.

My tip for the period/origin of the costume? 2003AD from someone's fancy
dress box.

Isn't it amazing how the ghost looks just like any one of a dozen gothy
picture book images?

Or am I just a cynic? Maybe we should get the psychic archaologists onto the
case,

-C.

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Date: Mon, 22 Dec 2003 20:27:49 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: Cable ties, was RE: It arrived!! Re: [h-cost] Corset Stays
  - 
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>Actually, if you simply round the cut ends of the cable lies with shears 
>or a file you don't need to have *any* kind of coating. The plastic of the 
>cable ties is not hard enough to cut through coutil (which is what I use 
>for my corsets).

Very round.  They work thru eventually if there are any 
even-slightly-pointy edges.  Possibly they work thru anyway.  So embroider 
those little bone-stops at the ends of all your bones, like many period 
corsets have.


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

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Date: Mon, 22 Dec 2003 20:29:09 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] More on Corset Stays
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>There is a product called "Tool Magic" which is a thick liquid rubber.  It
>is used on pliers to eliminate the tool marks on jewelry or on other tool
>handles to provide a better or a cushioned grip.  You can build up a
>thickness by dipping several times, and it's removable, at least on metal.
>(I use it on forming pliers.)  A two-ounce jar costs about $5, lasts a long
>time, and comes in clear and a variety of colors.  Jewelry suppliers and
>hardware stores should have it; here's an on-line source:
>
>http://www.thebeadfactory.com/shopping/tool_magic.html
>
>I think it may work better than nail polish.

I always wanted the name of that stuff.  Thank you so much.


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

              //// \\\
             ////-@@\\\
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Date: Mon, 22 Dec 2003 23:19:34 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] lining a velveteen doublet
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At 12:56 PM 12/21/2003 -0800, you wrote:

>  "Kimiko Small wrote:
>
> > I have some light-midweight, but not the sheer kind of linen, that I am
> > using for his shirt. It is white. Should I use this for lining the
>doublet,
> > or should I get a heavier linen?
>
>Depends on how much body you want the linen to provide.  Hard to answer this
>without handling both fabrics.
>
> >Do I need to dye the lining or keep it
> > white or natural color? I am concerned with sweat leaching dyes from the
> > black velveteen onto the white linen shirt, or even the lining itself.
>
>This might very well happen, but if you dye the lining that dye might leach
>onto your light shirt.  I'd probably only dye the lining if I thought bits
>of it might show and be distracting to the outer fabric, but this also
>depends on how stable the dyeing process is for this particular fabric.  If
>stable, then go for it if you'd prefer another colour.
>
>Lisa


Hi Lisa

I am thinking I may do a colored silk piping in areas where the lining 
might show, like the front and the collar. I am not sure if that is proper 
and period tho', so I am going to have to research that some more.

Thanks so much for your reply.

Kimiko


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

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

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From h-costume-bounces@indra.com  Tue Dec 23 12:12:08 2003
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Date: Tue, 23 Dec 2003 09:08:24 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] ancient textiles book on ebay
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I bought the English edition of this book ("Ancient Danish Textiles from 
Bogs and Burials: A Comparative Study of Costume and Iron Age Textiles") 
shortly after it came out in 1980 (ISBN 87-480-0312-3).  It's a wonderful 
book.  I periodically re-read it just because it's fascinating.  And I 
still want to try weaving on a warp-weighted loom.

I remember seeing the original Danish edition (from a library copy) and 
wanting it in English.  So far the bid is up to $76 (US).



At 05:22 PM 12/22/2003 -0500, you wrote:

>There is a book I can across on ebay on "ancient danish textiles"  The
>price it cheap, not a period I am interested in but thought some of you
>might be:
>
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=362&item=2583025807
>
>Katy
>
>Katy Bishop, Vintage Victorian
>vintage@shore.net                www.VintageVictorian.com
>      Custom reproduction gowns of the Victorian Era.
>       Publisher of the Vintage Dress Series books.

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From h-costume-bounces@indra.com  Tue Dec 23 14:24:48 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Ruffs
Date: Tue, 23 Dec 2003 20:23:44 +0100
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Dear Katie,
I would love to make one for you, free of charge, if you have the time and
patience.
I need to ship it for you  from Europe then.
This is because it is such a long time since i made one last and you only
have to pay the expences.
And apropos this topic, i just got a photo from my textile club of a ruff
from 1600 in Sweden. It is tripple with lace and fine fine gathering

Bjarne in Denmark


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

From: "Katie Lewis" <katie_lewis@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 22, 2003 5:04 AM
Subject: [h-cost] Ruffs


> I need a ruff to complete my Elizabethian outfit, and I'm not looking
forward to making it since I hate pleating with a purple passion.
>
> *So*
>
> Does anyone know of anyone who will make a ruff for a reasonable price?
>
> -Katie
>
>
> ____________________________________________________________
> Free Poetry Contest. Win $10,000. Submit your poem @ Poetry.com!
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Subject: Re: [h-cost] lining a velveteen doublet
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Dear Kimiko,
I shoudl have answered this days ago when you asked.
I would say that you should use the fine linen for your husband to sweat on
and when you line with the stiff thing, the finer linen should be perfect
for the meeting with the body

Merry christmas Kimiko!!!!
Bjarne.........................................

Bjarne--- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: <h-costume@indra.com>
Sent: Sunday, December 21, 2003 8:24 AM
Subject: [h-cost] lining a velveteen doublet


> Hi all
>
> I am working on my husband's 1580's doublet, and I want to line it with
linen.
>
> I have some light-midweight, but not the sheer kind of linen, that I am
> using for his shirt. It is white. Should I use this for lining the
doublet,
> or should I get a heavier linen? Do I need to dye the lining or keep it
> white or natural color? I am concerned with sweat leaching dyes from the
> black velveteen onto the white linen shirt, or even the lining itself.
>
> Oh, the sleeves will be in a crimson silk shantung, also lined. Not sure
> what color for the sleeve linings either, because they will be split down
> the front in a shaped two-piece sleeve. Got to deal with very hot
> California summers (100+).
>
> I plan on interlining with horsehair canvas, like I have always done with
> doublets (great for keeping the shape of the body), but I previously used
> cotton broadcloth for linings, and am not sure how that translates to
linen
> linings.
>
> Any other suggestions for the doublet that I may be overlooking?
>
> Thanks in advance, and Happy Holidays!
>
> 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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> h-costume@mail.indra.com
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>


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Subject: [h-cost] cable tie ends
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What I do to smooth the ends of rigilene I suppose can
be done to plastic cable ties: melting them!  I just
wave the end over a candle flame just enough so it
gets soft, and smooth it down with my fingers.


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Well, I haven't been able to find an solid attribute for the portrait of Catherine d' Medici I has asked about but I found this website with tons, and I do mean TONS of images of drawings by Francois Clouet.  Back the page up and put in a search of Jean and there are over 100.  More than there were in the book!

http://www.culture.gouv.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=AUTR&VALUE_1=CLOUET%20François&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECKED 

If I am understanding the descriptions correctly, these are red & black chalk drawings made in preparation for an oil painting.  The faces are rendered in great detail and most of the clothing is lightly sketched in but there is still a wealth of information for someone wanting to research a costume from this period.

Thanks to everyone who sent me books to try, unfortunately, I am still looking.  I even tried contacting History Magazine but all they knew was that they got it from a copyright free clipart service.  

Thanks again and enjoy!

Catherine


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What a fabulous link!  Thanks!


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> Well, I haven't been able to find an solid attribute for the portrait
> of Catherine d' Medici I has asked about but I found this website with
> tons, and I do mean TONS of images of drawings by Francois Clouet. 
> Back the page up and put in a search of Jean and there are over 100. 
> More than there were in the book!

Wow! This is quite a site. I haven't seen some of those since I found 
a book of Clouet drawings in the University of Washington Art Library 
(a book I haven't seen since and unfortunately didn't write down all 
the information about it. Sigh.)

Kat
<kat@redtrollforge.com>


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Terrific site, Catherine! Thanks mucho, for sharing!
Albra

Catherine Kinsey <ckinsey@kumc.edu> wrote:
Well, I haven't been able to find an solid attribute for the portrait of Catherine d' Medici I has asked about but I found this website with tons, and I do mean TONS of images of drawings by Francois Clouet. Back the page up and put in a search of Jean and there are over 100. More than there were in the book!

http://www.culture.gouv.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=AUTR&VALUE_1=CLOUET%20François&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECKED 

If I am understanding the descriptions correctly, these are red & black chalk drawings made in preparation for an oil painting. The faces are rendered in great detail and most of the clothing is lightly sketched in but there is still a wealth of information for someone wanting to research a costume from this period.

Thanks to everyone who sent me books to try, unfortunately, I am still looking. I even tried contacting History Magazine but all they knew was that they got it from a copyright free clipart service. 

Thanks again and enjoy!

Catherine


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That's a terrific web site! I've bookmarked it for future reference.
There are a number of portaits I've never seen before and I always get
excited when I find new ones! Wheee!


doin' the happy costume research dance!

Karen

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Hello everyone:

The December issue of the magazine "Antiques" has an interesting article on:

"Eighteenth and nineteenth century  multicolored linen from southeastern 
Pennsylvania"
Hoag, Doris. Antiques. Vol. CLXIV, No.  6,  December 2003.

It's interesting because she analyzed almost 1,600 handspun  textiles from 
private and
public collections  in Pennsylvania and found only a five colour 
combinations - blue and
white; brown and white; blue, brown and white;  brown and blue; and dark 
blue and light
blue. There is a range of blue and  browns illustrated.

Early American Life for December 2003 also has a brief article on 
indigo  dyed  textiles.

By coincidence I came across some  information on Kremer Pigments at:

http://www.kremer-pigmente.de/englisch/contents.htm

I was trying to nail sources of lime plaster (but that's another story), 
but serendity and
Google are glorious things . Kremers sell organic pigments,  and just the 
names are to
dream over (OK, maybe gamboge is not a name to dream over, but Tyrian 
Purple, Indian
lake and Anatolian madder, etc. are! My attempts at dyeing large pieces of 
fabric have
been disasters, and I'm fighting temption ...

Enjoy and have a great Christmas

Sheridan Alder




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At 08:50 PM 12/23/2003 +0100, you wrote:
>Dear Kimiko,
>I shoudl have answered this days ago when you asked.
>I would say that you should use the fine linen for your husband to sweat on
>and when you line with the stiff thing, the finer linen should be perfect
>for the meeting with the body
>
>Merry christmas Kimiko!!!!
>Bjarne.........................................


Hi Bjarne

Thanks so much for the advice. And I hope you, too, have a very Merry 
Christmas!

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 

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I shall be away from a computer until 5th Jan. Merry Christmas and Happy
New Year to all!


Kate Bunting
Library, University of Derby
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A Very Happy Holiday Season to Everyone---
With' Champagne Wishes' and 'Costumner's Dreams' coming true 
in this New Year!!
Cheers and Best--
Albra


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For cable tie ends, I hold them in a candle flame till they melt enough to
round the edge.

Margo

"One Tough Costumer"

www.margospatterns.com
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--- Lisa Sinervo <Lisa-list@thrednedlestrete.com>
wrote:
> Good advice!  I'll do some checking.  You know, I'm
> just satisfied that I
> know what the properties of baleen are.  It's very
> hard to find a substitute
> for something if you don't know what the original is
> like.  

Not an option for everybody, depending on geography,
but I have seen a piece of baleen on a whale watch I
went on, as part of a little educational display they
had set up.  Perhaps I wouldn't have paid all that
money just to handle baleen, but by the way I also got
to see some whales in their natural habitat.

-Angela

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Merry Christmas everyone! If you don't celebrate Christmas, then I wish you
Merry Everything! And a happy new year to all--

Gail Finke

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Subject: Re: [h-cost] Merry Christmas
Date: Wed, 24 Dec 2003 14:35:40 -0800
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Yes, Merry Christmas to everyone from me too, or a happy holiday or holiday
NOT those who don't celebrate Christmas but something else or nothing at
all.

.

Lisa Sinervo

----- Original Message -----
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Wednesday, December 24, 2003 11:50 AM
Subject: [h-cost] Merry Christmas


>
> Merry Christmas everyone! If you don't celebrate Christmas, then I wish
you
> Merry Everything! And a happy new year to all--
>
> Gail Finke
>
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Date: Wed, 24 Dec 2003 15:03:08 -0800
To: Historical Costume <h-costume@indra.com>,
   "Historical Costume" <h-costume@indra.com>
From: Margo Anderson <margo@margospatterns.com>
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Subject: [h-cost] So, What'd ya get?
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I've made a tradition of this for the last several years... And I'm posting
now since I figure some of you East Coast types who open your prezzies on
Christmas Eve may be ready to report.

So, tell us, what nifty costume or sewing related presents did you get?


Merry Christmas,

Margo

"One Tough Costumer"

www.margospatterns.com
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Subject: Re: [h-cost] So, What'd ya get?
Date: Wed, 24 Dec 2003 18:23:02 -0500
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Haven't opened anything yet...but I think my Secret Santa on my quilting
list sent me some sort of scissors. Wrapped in quilting fabric. (Not that I
was *feeling* the fabric or anything...(whistles innocently)

laurensa
----- Original Message ----- 
From: "Margo Anderson" <margo@margospatterns.com>
To: "Historical Costume" <h-costume@indra.com>; "Historical Costume"
<h-costume@indra.com>
Sent: Wednesday, December 24, 2003 6:03 PM
Subject: [h-cost] So, What'd ya get?


> I've made a tradition of this for the last several years... And I'm
posting
> now since I figure some of you East Coast types who open your prezzies on
> Christmas Eve may be ready to report.
>
> So, tell us, what nifty costume or sewing related presents did you get?
>
>
> Merry Christmas,
>
> Margo
>
> "One Tough Costumer"
>
> www.margospatterns.com
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Not meaning to clutter the list but

Happy Holidays all...  and a Happy, Healthy New Year too.

And on a related note -  I've decided to go for the PhD...
 wish me luck ; >

-- 
Mari Stewart
Cornell University


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What a great idea!  I got a nifty pop-up paper doll history of costume book
from a fiber friend!  Will report back on more tomorrow morning!

Sg



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Margo Anderson wrote:

> 
> So, tell us, what nifty costume or sewing related presents did you get?

Not east coast, but they seem to do the 'eve thing here...

Two gifts of cash which will go with me to the upscale fabric store 
downtown where they are having %50-off the already half price 
'everything in the store' sale on Friday morning... I'm going with a 
girlfriend who also sews. I don't know what we'll find but it should be 
fun anyway.

Costume books... I know I am getting something off my wishlist but my 
husband says it's been 3 weeks and Amazon hasn't got it here yet. :(
It may become a New Year's present.



Dawn



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> Margo Anderson wrote:
> So, tell us, what nifty costume or sewing related presents did you get?

50 Heirloom Buttons to Make, by Nancy Nehring.

Michelle in Michgan, where we didn't get the white Christmas the
weatherman promised.
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Subject: Re: [h-cost] So, What'd ya get?
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Mine is only marginally fabric related. I got a Digital Camera!!! *shreeeek*

My hubby has known I have really wanted one to chronicle my sewing projects
and build a portfolio. I make stuff for people and give them away with out
ever taking pictures. Well not any more!!

Muirgheal
Happy what ever Holiday you celebrate!

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On Thursday 25 December 2003 12:14 am, Dawn wrote:
> Margo Anderson wrote:
> > So, tell us, what nifty costume or sewing related presents did you get?

Whoa.  Haven't got anything yet....

We'lll see whether I can contribute to this one later...  :-)



-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Well- marginally costume-related.  I got a reproduction of the 1768-1771
original edition of the encyclopedia Brittanica.  I'm sure there must be
some clothing-related entries in there somewhere. I've only gotten as far as
the first of the three volumes, so far.
-Megan


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Holiday notes
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Mari --all the Best of Luck!! And hurrah for you for going  for it!
Albra

Marie Stewart <ms154@cornell.edu> wrote:

Not meaning to clutter the list but

Happy Holidays all... and a Happy, Healthy New Year too.

And on a related note - I've decided to go for the PhD...
wish me luck ; >

-- 
Mari Stewart
Cornell University


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WheeeeeeKKK!!! (Shrieks of glee) I got a  new Husquerna Platinum 770  sewing machine from my husband--bless his heart!!!!! It's great--but so computerized I'm going to need classes just to figure out how to use it!! Also a couple of nifty books---Dress Accessories 1150-1450 from the Museum of London series, and Medieval Civilization 400-1500, by Jacques Le Goff---
Albra
( the computer challenged--approaching her new machine with great trepidation and awe)



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----- Original Message ----- 
From: "KATHRYN WOLTERS" <albrakat7@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, December 25, 2003 11:00 AM
Subject: [h-cost] So, What Did 'ya Get?


> WheeeeeeKKK!!! (Shrieks of glee) I got a  new Husquerna Platinum 770
sewing machine from my husband--bless his heart!!!!! It's great--but so
computerized I'm going to need classes just to figure out how to use it!!
Also a couple of nifty books---Dress Accessories 1150-1450 from the Museum
of London series, and Medieval Civilization 400-1500, by Jacques Le Goff---
> Albra
> ( the computer challenged--approaching her new machine with great
trepidation and awe)
>
Wow! Lucky you!!

I guessed right on my Secret Santa gift. It was indeed scissors--Pinking
Shears! Yay! I've been wanting pinking shears for ages, it was perfect!

Non costume related, my DH gave me Life of Brian and Time Bandits on DVD. I
already had the Holy Grail, so some afternoon soon is going to be spent in a
blissful Python daze.

Dianne

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Subject: Re: [h-cost] So, What'd ya get?
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In a message dated 12/25/2003 9:40:20 AM Eastern Standard Time, 
cathy@thyrsus.com writes:
> Margo Anderson wrote:
> > So, tell us, what nifty costume or sewing related presents did you get?

Eeeee!  If you can hear the shriek of joy from somewhere in Westchester, it's 
probably me!
Costuming and sewing related, I received a set of Elizabethan jewelry 
(girdle, earrings, necklace, ring, AND bodice jewelry!) courtesy Sapphire and Sage 
from my parents and my aunt and uncle, Queen Elizabeth's Wardrobe Unlock'd and 
Patterns of Fashion 1560-1620 (those being the shriek-inducing gifts, at which 
point everyone in my family went "Oh dear, she's lost it!"), and (feel free to 
wince, but my aunt really did mean well!), Tudor Costume and Fashion by 
Herbert Norris, and Iris Brooke's English Costume from the Early Middle Ages 
Through the Sixteenth Century.  

Christine
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] So, What'd ya get?
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I didn't get anything costume-related, but I gave:

* a suit of ruffs for a friend's Elizabethan
* a pair of knitted socks (my first)
* a copy of Kass McGann's Reconstructing History 1630s doublet pattern

K.
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Subject: Re: [h-cost] Holiday notes
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Mari,

Come on in, the water's fine!  :D  I just finished my first term 
towards a Ph.D. in (I love this phrase) "Cultural and Historic Aspects 
of the Near Environment" (read Apparel history) , with a minor in 
Anthropology.  It's wonderful.  I mean, I spend most days in the 
library looking up *stuff* and writing papers.  They actually like it 
when you think.  hehe  It's darn hard work and I rarely get to bed 
before midnight and papers always are closer on the calendar then they 
appear.  Good luck in your studies!  Just imagine the joy from 
following your passion.  :D

*brag alert*

I got straight A's.  :D  It's a first for me.  lol

Next term I take Fashion Theory, History of the Near Environment, and 
Anthropology of Art.  I'm in hog heaven.  *smiles*  This summer, I go 
to Europe for a research project.  It sure beats work.  hehe

Have a great Holiday, everyone.

Althea
Who is wearing her teddy bear footies given by her Pelican


On Thursday, December 25, 2003, at 07:44 AM, KATHRYN WOLTERS wrote:

> Mari --all the Best of Luck!! And hurrah for you for going  for it!
> Albra
>
> Marie Stewart <ms154@cornell.edu> wrote:
>
> Not meaning to clutter the list but
>
> Happy Holidays all... and a Happy, Healthy New Year too.
>
> And on a related note - I've decided to go for the PhD...
> wish me luck ; >
>
> -- 
> Mari Stewart
> Cornell University
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> ---------------------------------
> Do you Yahoo!?
> Yahoo! Photos - Get your photo on the big screen in Times Square
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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----- Original Message ----- 
From: <IceGirlNIN@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, December 25, 2003 11:24 AM
Subject: Re: [h-cost] So, What'd ya get?


> In a message dated 12/25/2003 9:40:20 AM Eastern Standard Time,
> cathy@thyrsus.com writes:
> > Margo Anderson wrote:
> > > So, tell us, what nifty costume or sewing related presents did you
get?
>
> Eeeee!  If you can hear the shriek of joy from somewhere in Westchester,
it's
> probably me!
> Costuming and sewing related, I received a set of Elizabethan jewelry
> (girdle, earrings, necklace, ring, AND bodice jewelry!) courtesy Sapphire
and Sage
> from my parents and my aunt and uncle, Queen Elizabeth's Wardrobe Unlock'd
and
> Patterns of Fashion 1560-1620 (those being the shriek-inducing gifts, at
which
> point everyone in my family went "Oh dear, she's lost it!"), and (feel
free to
> wince, but my aunt really did mean well!), Tudor Costume and Fashion by
> Herbert Norris, and Iris Brooke's English Costume from the Early Middle
Ages
> Through the Sixteenth Century.
>

Geeze, what a haul! The Sapphire and Sage jewelry is beautiful stuff too.
Can't wait to see pics!

Dianne

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In a message dated 12/25/2003 11:52:52 AM Eastern Standard Time, 
goofy1@suscom.net writes:
Geeze, what a haul! The Sapphire and Sage jewelry is beautiful stuff too.
Can't wait to see pics!

I'm a lucky girl ;)  My family has also (for the most part) given up on 
guessing, so my mother says around late October, "Make a list of what you want, 
because that's what you're getting!"  Less fun than all surprises, I suppose, but 
my mother is happier when she and I don't have to go around making returns, 
everyone gets what they want, and my elder aunt and uncle get lots of Italian 
food <g>.
When I finish my latest liz' (though all I have right now is the smock cut 
out..) I'll get someone to help me get everything on, and I'll take some 
pictures.  

Christine
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From: MysticsLady9@aol.com
To: h-costume@indra.com (Historical Costume)
Subject: Re: [h-cost] So, What'd ya get?
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I got my Queen Elizabeth's Wadrobe Unlocked!  What a great hubby I have.....ok, ok....so I bought it for myself, and told him it was my present from him......but I'm still excited.

"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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To: "Margo Anderson" <h-costume@indra.com>
From: Teena Kessinger  <bkessinger@ureach.com>
Subject: Re: [h-cost] So, What'd ya get?
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I did pretty good this year both costume and non-costume
related. :) For the costume stuff, I got several Period Patterns
(Mens Tudor, Womens Early Tudor, Tudor headwear, German Puff and
Slash), the Mantua Maker's Spanish Ropa pattern, a belt with
period reproduction buckle and tip with belt mounts, a JoAnns
gift card, another gift card to be used towards a new serger,
and QEWU (though I haven't got that one "in hand" yet). My
family knows what I like so well! Of course, the list I gave
them probably helped. ;-)

Teena

---- On Wed, 24 Dec 2003, Margo Anderson
(margo@margospatterns.com) wrote:

> I've made a tradition of this for the last several years...
And I'm posting
> now since I figure some of you East Coast types who open your
prezzies on
> Christmas Eve may be ready to report.
> 
> So, tell us, what nifty costume or sewing related presents did
you get?
> 
> 
> Merry Christmas,
> 
> Margo
> 
> "One Tough Costumer"
> 
> www.margospatterns.com
> _______________________________________________
> 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] So, What'd ya get?
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I've got Historical Fashion in detail, The 17th and 18th centuries.
My next costume will be a 18th century dress. I planned on making a very 
simple one but there are so many nice pictures in this book....
Beautiful fringes, cuffs, embroidery.....

Greetings,
        Deredere

Margo Anderson wrote:

>I've made a tradition of this for the last several years... And I'm posting
>now since I figure some of you East Coast types who open your prezzies on
>Christmas Eve may be ready to report.
>
>So, tell us, what nifty costume or sewing related presents did you get?
>
>
>Merry Christmas,
>
>Margo
>
>"One Tough Costumer"
>
>www.margospatterns.com
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>



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Got "Patternmaking for Fashion Design" (3rd edition!) Nearly 1 1/4" thick and what DOESN'T it have?? I never knew there were so many ways to re-arrange a bust dart or change an armseye (my two most difficult fitting problems)! SLICK!

Allison T.

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A Fabric Depot gift certificate. Party on!!!

Happy holidays!

Arlys

On Thu, 25 Dec 2003 09:41:27 -0500 Catherine Olanich Raymond
<cathy@thyrsus.com> writes:
> On Thursday 25 December 2003 12:14 am, Dawn wrote:
> > Margo Anderson wrote:
> > > So, tell us, what nifty costume or sewing related presents did 
> you get?


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I stand corrected from last night.

There wasn't even a flake on the ground when I went to bed last night 
(perusing my new button book, of course).

This morning my hubby and I woke up to two inches of snow on the ground,
and it's still coming down.

Talk about good timing!  :-)
Michelle
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Date: Thu, 25 Dec 2003 13:09:33 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] So, What'd ya get?
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Hi all,

For Christmas this year, I got a sewing machine rolling bag, because I 
dropped my good machine after Costume College, and my husband knew I have 
more classes to travel to. And I got the book "All About Silk", which is a 
great book to get to understand what different silk fabrics are, and what 
types of silk fabrics would be good for what types of garment construction. 
It even includes silk samples to add into the book. I love this book! My 
stocking also had a new embroidery scissors, and a clover thread cutter for 
my faire travels. And my husband's parents gave us money for our present, 
so I am thinking of using that money for an expensive costume book... I 
just don't know which one would be best for my needs.

I hope everyone had a good Christmas, or whatever holiday you enjoy. I also 
hope everyone has a good New Years, and 12th Night (which I will be missing 
this year).

Kimiko


At 03:03 PM 12/24/2003 -0800, you wrote:
>I've made a tradition of this for the last several years... And I'm posting
>now since I figure some of you East Coast types who open your prezzies on
>Christmas Eve may be ready to report.
>
>So, tell us, what nifty costume or sewing related presents did you get?
>
>
>Merry Christmas,
>
>Margo
>
>"One Tough Costumer"
>
>www.margospatterns.com


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 

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Date: Thu, 25 Dec 2003 17:06:27 -0500 (EST)
From: Katy Bishop <vintage@shore.net>
To: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] So, What'd ya get?
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>From my best friend I got a wonderful 30" acid free box containing an
ca. 1880 princess line dress of lavender wool challis (very fine,
probably faded from a blue) and royal blue jacquard trim (the jacquard
has an 1860 feel), tons of buttons down the front.  Really cute and
unexpected.  Now I want to copy it!

I also got, just in time, my splurge on ebay, a purple satin late 1830's
dress.  It's fabulous and fills a gap in my collection.  It's all plum
satin, mostly padded with cotton batting for extra body (and warmth I
suppose).  The front bodice is decorated with a lattice of satin and
purple velvet, and there are bows down the front of the skirt.  It has
leg o' mutton sleeves and bows at the cuffs.  I paid way too much for my
budget but it is so pretty.

Katy

On Wed, 24 Dec 2003, Margo Anderson wrote:

>I've made a tradition of this for the last several years... And I'm posting
>now since I figure some of you East Coast types who open your prezzies on
>Christmas Eve may be ready to report.
>
>So, tell us, what nifty costume or sewing related presents did you get?
>
>
>Merry Christmas,
>
>Margo
>
>"One Tough Costumer"
>
>www.margospatterns.com
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

_______________________________________________
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] So, What'd ya get?
To: Historical Costume <h-costume@indra.com>
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Katy-
-the 1830's dress sounds wondeful! Will we get treated to pics of it at some point?
Albra
(drooling vicariously on everyone's  Holiday 'loot')

Katy Bishop <vintage@shore.net> wrote:

>From my best friend I got a wonderful 30" acid free box containing an
ca. 1880 princess line dress of lavender wool challis (very fine,
probably faded from a blue) and royal blue jacquard trim (the jacquard
has an 1860 feel), tons of buttons down the front. Really cute and
unexpected. Now I want to copy it!

I also got, just in time, my splurge on ebay, a purple satin late 1830's
dress. It's fabulous and fills a gap in my collection. It's all plum
satin, mostly padded with cotton batting for extra body (and warmth I
suppose). The front bodice is decorated with a lattice of satin and
purple velvet, and there are bows down the front of the skirt. It has
leg o' mutton sleeves and bows at the cuffs. I paid way too much for my
budget but it is so pretty.

Katy

On Wed, 24 Dec 2003, Margo Anderson wrote:

>I've made a tradition of this for the last several years... And I'm posting
>now since I figure some of you East Coast types who open your prezzies on
>Christmas Eve may be ready to report.
>
>So, tell us, what nifty costume or sewing related presents did you get?
>
>
>Merry Christmas,
>
>Margo
>
>"One Tough Costumer"
>
>www.margospatterns.com
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>

Katy Bishop, Vintage Victorian
vintage@shore.net www.VintageVictorian.com
Custom reproduction gowns of the Victorian Era.
Publisher of the Vintage Dress Series books.

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---------------------------------
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Yahoo! Photos - Get your photo on the big screen in Times Square
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Hi all... sounds like there are some great gift givers out there!

Knitting needles from my Mother, these are the ones handed down through
her side of the family.  Each woman has kept them and added to the
collection until she could no longer knit - and then passed them to the
next generation.

Some financing for the fabric stash from Dad,  and a request for a Xena
costume from my sister-in-law.  ; >


-- 
Mari Stewart
Cornell University

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> I've made a tradition of this for the last several years... And I'm posting
> now since I figure some of you East Coast types who open your prezzies on
> Christmas Eve may be ready to report.
> 
> So, tell us, what nifty costume or sewing related presents did you get?


Not technically costume related, but my new DVD player should make things 
easier if I decide to do a movie reproduction costume -- neither of my VCRs is 
fancy enough to give a clear image when on "pause".

Leah
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Heh- Leah, funny story, we bought one for Tarquin this year as his *big
gift* (we had to seriously pare down on gifts this year) and last night at
my grandfather's my step mom gave us a dvd player. So we now have two
identical dvd players. We put on in our bedroom and Tar opened his this
morning and it stays in the livingroom.

Bice
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
Live Journal http://snipurl.com/3jcs
----- Original Message ----- 
From: <LLWatts@aol.com>
To: <h-costume@indra.com>
Sent: December 25, 2003 8:57 PM
Subject: Re: [h-cost] So, What'd ya get?


> > I've made a tradition of this for the last several years... And I'm
posting
> > now since I figure some of you East Coast types who open your prezzies
on
> > Christmas Eve may be ready to report.
> >
> > So, tell us, what nifty costume or sewing related presents did you get?
>
>
> Not technically costume related, but my new DVD player should make things
> easier if I decide to do a movie reproduction costume -- neither of my
VCRs is
> fancy enough to give a clear image when on "pause".
>
> Leah
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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Date: Thu, 25 Dec 2003 09:22:54 -0800
To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Holiday notes
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At 9:06 PM -0500 12/24/03, Marie Stewart wrote:
>Not meaning to clutter the list but
>
>Happy Holidays all...  and a Happy, Healthy New Year too.
>
>And on a related note -  I've decided to go for the PhD...
>  wish me luck ; >

Good luck!  And know that there _is_ light at the end of the tunnel!

Heather
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 Greetings all,I want to make the dress in the attatchment, a beautiful green florentine dress with a stand-up "collar" , but I was wondering if anyone had an idea what the fabric would be, and what the dangling ties are. I've found other portraits with the same style of neck but the fabric is heavily quilted and without any kind of tie or hanging decoration. I've not very familiar with Italian style. Is this portrait an oddity?Thanks,Happy Festimas,Wendywww.hecate.ca/emma/http://f1.pg.photos.yahoo.com/ph/lilgeekboy/detail?.dir=/Armour.&amp;.dnm=1540s_florentine.jpg

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From h-costume-bounces@indra.com  Thu Dec 25 23:04:52 2003
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Not sure if you know but there's no attachment. Do you have a place on the
web it can be found?

B~
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
Live Journal http://snipurl.com/3jcs
----- Original Message ----- 
From: "Wendy" <emmajean@myway.com>
To: <h-costume@indra.com>
Sent: December 25, 2003 10:56 PM
Subject: [h-cost] Florentine question


> Greetings all,I want to make the dress in the attatchment, a beautiful
green florentine dress with a stand-up "collar" , but I was wondering if
anyone had an idea what the fabric would be, and what the dangling ties are.
I've found other portraits with the same style of neck but the fabric is
heavily quilted and without any kind of tie or hanging decoration. I've not
very familiar with Italian style. Is this portrait an oddity?Thanks,Happy
Festimas,Wendywww.hecate.ca/emma/http://f1.pg.photos.yahoo.com/ph/lilgeekboy
/detail?.dir=/Armour.&amp;.dnm=1540s_florentine.jpg
>
> _______________________________________________
> No banners. No pop-ups. No kidding.
> Introducing My Way - http://www.myway.com
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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It looks like a heavily starched sheer or lace partlet to me, one that 
has been left open with the ties hanging off either side. I would guess 
the ties are silk ribbon or cord, and they appear to have pearls on the 
end. I could be imagining that, I have a rather poor monitor these days.


Dawn




Wendy wrote:

>  Greetings all,I want to make the dress in the attatchment, 

a beautiful green florentine dress with a stand-up "collar" ,

but I was wondering if anyone had an idea what the fabric would

  be, and what the dangling ties are. I've found other portraits

  with the same style of neck but the fabric is heavily quilted

and without any kind of tie or hanging decoration. I've not very

familiar with Italian style. Is this portrait an oddity?Thanks,

Happy Festimas,Wendy

www.hecate.ca/emma/http://f1.pg.photos.yahoo.com/ph/lilgeekboy/detail?.dir=/Armour.&amp;.dnm=1540s_florentine.jpg
> 
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> 
> 


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Subject: Re: [h-cost] So, What'd ya get?
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At 3:03 PM -0800 12/24/03, Margo Anderson wrote:
>I've made a tradition of this for the last several years... And I'm posting
>now since I figure some of you East Coast types who open your prezzies on
>Christmas Eve may be ready to report.
>
>So, tell us, what nifty costume or sewing related presents did you get?

Nothing really costume related.  But the air resounded with shrieks 
of delight when I unwrapped a copy of "Harri Potter a Maen yr 
Athroniaidd" (i.e., HP vol. 1 in Welsh).

Heather
-- 
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Only a little costume related this year, for Pierre - Figures in Fabric - 
the Sculpture of Lisa Liechtenfels, and another Osprey military 
history.  Both of us got things for our other passions, though, reading 
(both) and cooking (me).  We both got B&N gift cards, and I got 3 of the 
Master and Commander book series and the first Horatio Hornblower book.  He 
also got a book light.  I got a popcorn popper, popcorn, a nylon whisk (for 
non-stick pans), and a new toaster/broiler oven.  COOL!!

Pierre and Sandy

>So, tell us, what nifty costume or sewing related presents did you get?
>
>Merry Christmas,
>Margo

"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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Hey- you any kin to those other Dr. Jones' (father and son)?
-- {or is it Dr.s Jones, like Grands Prix?}

smiles and congrats and happy holidays too! Betsy
*****
Heather Rose (you may now call me Doctor) Jones
hrjones@socrates.berkeley.edu
*****
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> I got straight A's.  :D  It's a first for me.  lol

Congrats, Althea! Keep up the good work.

Kat
<kat@redtrollforge.com>


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> So, tell us, what nifty costume or sewing related presents did you
> get?

I got gift certificates for Borders and Walden books.

But my hubbie didn't get me anything. :( 
We had a bit of a talk about that one.

Kat
<kat@redtrollforge.com>


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Oh, please share pictures of this!  It sounds wonderful.


> I also got, just in time, my splurge on ebay, a purple satin late 
> 1830's
> dress.  It's fabulous and fills a gap in my collection.  It's all plum
> satin, mostly padded with cotton batting for extra body (and warmth I
> suppose).  The front bodice is decorated with a lattice of satin and
> purple velvet, and there are bows down the front of the skirt.  It has
> leg o' mutton sleeves and bows at the cuffs.  I paid way too much for 
> my
> budget but it is so pretty.
>
> Katy
>
> On Wed, 24 Dec 2003, Margo Anderson wrote:
>
>> I've made a tradition of this for the last several years... And I'm 
>> posting
>> now since I figure some of you East Coast types who open your 
>> prezzies on
>> Christmas Eve may be ready to report.
>>
>> So, tell us, what nifty costume or sewing related presents did you 
>> get?
>>
>>
>> Merry Christmas,
>>
>> Margo
>>
>> "One Tough Costumer"
>>
>> www.margospatterns.com
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
> Katy Bishop, Vintage Victorian
> vintage@shore.net                www.VintageVictorian.com
>      Custom reproduction gowns of the Victorian Era.
>       Publisher of the Vintage Dress Series books.
>
> _______________________________________________
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>I've made a tradition of this for the last several years... And I'm posting
>now since I figure some of you East Coast types who open your prezzies on
>Christmas Eve may be ready to report.
>
>So, tell us, what nifty costume or sewing related presents did you get?

I got three dolls, and a book about celluloid dolls, one of which was in a 
box tied with several yards of usable satin ribbon.  I also got two boxes 
of candy, guaranteed to make my costumes fit worse.  But the best was from 
my mother; a crochet shawly collar, not as fine as Irish but pretty special 
nonetheless, from maybe c.1900.  It doesn't have a stand-up neck, so it may 
be later, like 1912, or a little bit earlier.  If anyone cares to help me 
date it better, I can send them a scan.
    ____
   /    \
  /      \  the collar;
|   __   | about 18",
|  |  |  | top to bottom
|  |  |  |
|  /  \  |
| /    \ |
|/      \|

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

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

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Not costume related... but I gave my husband and kids a treat Christmas
night.  I took them to see "Its a Wonderful Life" at an 1928 movie palace.
How great to see the film on the large screen like it was intended to be
viewed.   You can see the inside of this grand movie palace at
http://members.tripod.com/~g_cowardin/byrd/  OR
http://cinematreasures.org/theater/334/  The theater's 75th anniversary was
Christmas Eve.  The manager told me that out of the 75 year history, it has
only been closed 7 months for restoration work.  She is a grand lady!  BTW,
the film premiered on Dec. 20, 1946.

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


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Subject: Re: [h-cost] So, What'd ya get?
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Kayta,

Send me a scan and I will check with two of our instructors.  On the subject
header of the email write "INCOMING Kayta's shawl."

Congrads on your doll goodies!!!!!

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


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From h-costume-bounces@indra.com  Fri Dec 26 07:43:39 2003
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I didn't think I would get anything sewing related, but I did.  My 
mother-in-law sent me one of those cute wooden sewing boxes that open out to the sides, 
but this is a miniature version.  It's just the thing to accompany my mini 
sewing machine if I decide I absolutely have to sew again when flying somewhere 
on vacation (as I did last Thanksgiving--sewing while overlooking the Florida 
beach was a treat, although the machine was a little hard to get used to).

Today I start a new waistcoat for my husband to wear to a Twelfth Night Ball 
next Saturday.  I would like to make pantaloons, too, but we'll see about that.

Ann Wass

P.S.  Bought myself a copy of "Headwraps: A Global Journey," last Saturday 
because the author, Georgia Scott, was doing a demonstration and book signing.

And my husband and I are FINALLY going to see "Master and Commander" tonight!
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In a message dated 12/25/2003 11:01:11 AM Eastern Standard Time, 
albrakat7@yahoo.com writes:
WheeeeeeKKK!!! (Shrieks of glee) I got a  new Husquerna Platinum 770  sewing 
machine from my husband--bless his heart!!!!! It's great--but so computerized 
I'm going to need classes just to figure out how to use it!! 
Now THAT is a sewing-related gift!!!!!  Enjoy--not a day goes by that I don't 
appreciate my Bernina.
Ann Wass
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Subject: Re: [h-cost] Florentine question
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I don't know whether or not you do the yahoo groups, but there
is one for Italian Renaissance. That photo is the one on our
welcome page. I do a lot of Italian, but I haven't conquered
that particular dress... yet. I would imagine there are others
on that list who have. It is a gorgeous dress!

Teena





---- On Thu, 25 Dec 2003, Wendy (emmajean@myway.com) wrote:

>  Greetings all,I want to make the dress in the attatchment, a
beautiful green florentine dress with a
> stand-up "collar" , but I was wondering if anyone had an idea
what the fabric would be, and what the
> dangling ties are. I've found other portraits with the same
style of neck but the fabric is heavily
> quilted and without any kind of tie or hanging decoration.
I've not very familiar with Italian style.
> Is this portrait an oddity?Thanks,Happy
>
Festimas,Wendywww.hecate.ca/emma/http://f1.pg.photos.yahoo.com/ph/lilgeekboy/detail?.dir=/Armour.&.dnm=1540s_florentine.jpg
> 
> _______________________________________________
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> _______________________________________________
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> 
> 

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 How fortunate you are to live in a city that cares about it's history, and to see old movies on a screen larger than 20" must be wonderful (pun intended!)In Winnipeg, they just tore down the Eaton's building, a fully servicable 100 year+ building to built an ultra-modern arena. Also, the Walker Theatre, home of the Mock Parliament in 1912 that helped bring the vote to Canadian Women was recently re-done and re-named the Burton Cummings Theatre; a man who once said that "Winnipeg was a hole". Cheers,Wendy--- On Fri 12/26, Penny Ladnier &lt; penny@costumegallery.com &gt; wrote:From: Penny Ladnier [mailto: penny@costumegallery.com]To: h-costume@indra.comDate: Fri, 26 Dec 2003 03:14:20 -0500Subject: Re: [h-cost] So, What'd ya get?Not costume related... but I gave my husband and kids a treat Christmasnight. I took them to see "Its a Wonderful Life" at an 1928 movie palace.How great to see the film on the large screen like it was intended to beviewed. You can see the inside of th!
 is grand movie palace athttp://members.tripod.com/~g_cowardin/byrd/ ORhttp://cinematreasures.org/theater/334/ The theater's 75th anniversary wasChristmas Eve. The manager told me that out of the 75 year history, it hasonly been closed 7 months for restoration work. She is a grand lady! BTW,the film premiered on Dec. 20, 1946.Penny LadnierOwner, The Costume Gallery &amp; Costume Classroomwww.costumegallery.comwww.costumeclassroom.com[This E-mail was scanned for viruses by Plugit.com Virus Scanners (http://www.plugit.com)]_______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume

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Well, it's not precisely costume related....yet.....but I got gift cards for Borders and Barnes & Noble which may very well turn into some some costuming research materials. And I did get a copy of the Elizabeth paperdoll book from Dover. I will have lots of fun photocopying the drawings and coloring them in various combinations just to try out different looks.

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Subject: RE: [h-cost] So, What'd ya get?
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At 10:56 PM -0600 12/25/03, Betsy Marshall wrote:
>Hey- you any kin to those other Dr. Jones' (father and son)?
>-- {or is it Dr.s Jones, like Grands Prix?}


I certainly _am_ related to several Doctors Jones, one father and two 
sons (my third brother and my Mom decided it was ok to stop with a 
Masters) -- but probably not the ones you're thinking about.


>smiles and congrats and happy holidays too! Betsy

Thanks (all), it's be a long and very scenic road.

Heather
-- 
*****
Heather Rose (you may now call me Doctor) Jones
hrjones@socrates.berkeley.edu
*****
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 Thanks, could you give me the address? I tried to find it in the yahoo search but that's pretty much impossible.Cheers,Wendy--- On Fri 12/26, Teena Kessinger &lt; bkessinger@ureach.com &gt; wrote:From: Teena Kessinger [mailto: bkessinger@ureach.com]To: h-costume@indra.comDate: Fri, 26 Dec 2003 10:44:10 -0500Subject: Re: [h-cost] Florentine questionI don't know whether or not you do the yahoo groups, but thereis one for Italian Renaissance. That photo is the one on ourwelcome page. I do a lot of Italian, but I haven't conqueredthat particular dress... yet. I would imagine there are otherson that list who have. It is a gorgeous dress!Teena---- On Thu, 25 Dec 2003, Wendy (emmajean@myway.com) wrote:&gt; Greetings all,I want to make the dress in the attatchment, abeautiful green florentine dress with a&gt; stand-up "collar" , but I was wondering if anyone had an ideawhat the fabric would be, and what the&gt; dangling ties are. I've found other portraits with the samestyle of nec!
 k but the fabric is heavily&gt; quilted and without any kind of tie or hanging decoration.I've not very familiar with Italian style.&gt; Is this portrait an oddity?Thanks,Happy&gt;Festimas,Wendywww.hecate.ca/emma/http://f1.pg.photos.yahoo.com/ph/lilgeekboy/detail?.dir=/Armour.&amp;.dnm=1540s_florentine.jpg&gt; &gt; _______________________________________________&gt; No banners. No pop-ups. No kidding.&gt; Introducing My Way - http://www.myway.com&gt; _______________________________________________&gt; h-costume mailing list&gt; h-costume@mail.indra.com&gt; http://mail.indra.com/mailman/listinfo/h-costume&gt; &gt; _______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume

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> So, tell us, what nifty costume or sewing related presents did you get?

Costume-related, but remotely, I got the old King and I movie.

But sewing related, I got one of those great foldable cutting tables on
wheels. The central section is about 18 inches wide and it has drawers
underneath and there are two panels that can be folded down on either side,
it's very long once opened. It's hip-height, so it's just the right height
to pin, cut, etc. My mom was tired of seeing me pin and cut on the floor :-)
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In a message dated 12/26/2003 9:42:34 AM Pacific Standard Time, 
emmajean@myway.com writes:
Thanks, could you give me the address?

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

Laura
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Subject: Re: [h-cost] Florentine question
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Hey there...  you're looking at a fairly common dress line for the time
and place.   The collar, a partlet technichally, is a lawn (and being
Italian might be cotton or linen).  The partlet is whiteworked and looks
like there is bobbin lace along the edge...  punto in aria perhaps.

Those long trailing ties are a feature of the partlet. As you can see they
are matched along the neck opening.

The ties can be made in several ways.  A couple of easy ways are
fingerloop braids,  knitted cord,  round braids,  or bobbin lace tapes.

Good luck...
Bridgette

-- 
Mari Stewart
Cornell University

>  Greetings all,I want to make the dress in the attatchment, a beautiful
> green florentine dress with a stand-up "collar" , but I was wondering if
> anyone had an idea what the fabric would be, and what the dangling ties
> are. I've found other portraits with the same style of neck but the
> fabric is heavily quilted and without any kind of tie or hanging
> decoration. I've not very familiar with Italian style. Is this portrait
> an oddity?Thanks,Happy

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On Wed, 24 Dec 2003, Margo Anderson wrote:

> I've made a tradition of this for the last several years... And I'm posting
> now since I figure some of you East Coast types who open your prezzies on
> Christmas Eve may be ready to report.
> 
> So, tell us, what nifty costume or sewing related presents did you get?
> 
> 
> Merry Christmas,
> 
> Margo
> 

 Hiya, Margo!
  This year was a rather poorer year than has been in the past, but I 
think I'm on my way to a new hobby within the realm of costuming: bobbin 
lace! Got one of those beginner kits from Lacis and made a strip of 
cotton lace today (26th). Also got two books with patterns on Elizabethan 
embroidery, one on crewel work, and two more books: Authentic Victorian 
Dressmaking Techniques and Paint Your Own Illuminated Letters (Oh, okay, 
it's not costumy...btw, THANKS DREA!)

  Re the bobbin lace: Can someone recommend a good book of patterns? I 
like doing fine stuff and the pattern that came with the kit is, er, 
well, not fine enough for me.
  Thanks!

  Kate!

 
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Ohoh!! And I got the Little Corset Book! Yay! (Thanks Drea!!)

Kate!


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Yay!

'Historical Fashion in Detail' and the four historic dyes books by John 
Edmonds including the one on imperial purple.

I don't know where to start!




Dawn



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>   Re the bobbin lace: Can someone recommend a good book of patterns? I
>like doing fine stuff and the pattern that came with the kit is, er,
>well, not fine enough for me.

Check Lacis's website, or call them if it's not too far.  I'd bet money 
they have something.


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

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On Fri, 26 Dec 2003, Dawn wrote:

> the four historic dyes books by John Edmonds including the one on
> imperial purple.

	What books are these?  Could you please share the titles?

annora

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annora wrote:

> On Fri, 26 Dec 2003, Dawn wrote:
> 
> 
>>the four historic dyes books by John Edmonds including the one on
>>imperial purple.
> 
> 
> 	What books are these?  Could you please share the titles?
> 


They are:

History of Woad and the Medieval Woad Vat (Historic Dyes S.)
~John Hamilton-Edmonds

History and Practice of Eighteenth Century Dyeing (Historic Dyes S.)
~John Hamilton-Edmonds

Transition from Natural to Synthetic Dyes, The (Historic Dyes S.)
~Alan Dronsfield, John Hamilton-Edmonds

Tyrian or Imperial Purple Dye: The Mystery of Imperial Purple Dye 
(Historic Dyes S.)
~John Edmonds


And you can get them at:
https://www.amazon.co.uk/exec/obidos/search-handle-form/026-2903011-2076438



Dawn



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A book about how to do inkle weaving and an IOU for an inkle loom.

-- 
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 Dec 26 23:14:55 2003
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] So, What'd ya get?
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On Thursday 25 December 2003 01:29 pm, Deredere Galbraith wrote:
> I've got Historical Fashion in detail, The 17th and 18th centuries.
> My next costume will be a 18th century dress. I planned on making a very
> simple one but there are so many nice pictures in this book....
> Beautiful fringes, cuffs, embroidery.....

A truly marvelous book.  I have it, and have enjoyed it thoroughly even though 
the 17th/18thc are not my period.  Congratulations!
-- 
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  Sat Dec 27 00:13:29 2003
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] So, What'd ya get?
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On Fri, 26 Dec 2003, Dawn wrote:

> History of Woad and the Medieval Woad Vat (Historic Dyes S.)
> ~John Hamilton-Edmonds
> 
> History and Practice of Eighteenth Century Dyeing (Historic Dyes S.)
> ~John Hamilton-Edmonds
> 
> Transition from Natural to Synthetic Dyes, The (Historic Dyes S.)
> ~Alan Dronsfield, John Hamilton-Edmonds
> 
> Tyrian or Imperial Purple Dye: The Mystery of Imperial Purple Dye 
> (Historic Dyes S.)
> ~John Edmonds
> 
> And you can get them at:
> https://www.amazon.co.uk/exec/obidos/search-handle-form/026-2903011-2076438

Or go directly to the source:

John Edmonds
89 Chessfield Park
Little Chalfont, Buckinghamshire, HP6 6RX  
England

E-mail  edmondsxxx@yahoo.co.uk

He had a webpage last time I looked, but it seems to be down right now. I
suppose that might mean he no longer sells directly, but I can't guess
either way.

David Brown Co. has the booklets too, but the prices are probably lower if
you go to the author. David Brown is asking $7 to $13 US per booklet (and
they really are *booklets*, but packed with information). I paid, I think,
$4 at for the woad book at K'zoo, maybe less with conference discount.

I feel certain I've recommended his books here before, but I can't lay my
hands on the post...

--Robin


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From h-costume-bounces@indra.com  Sat Dec 27 00:39:17 2003
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] So, What'd ya get?
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For the first time in .. umpteen .. years, I didn't get a single sewing 
or costuming gift item.

I did, however, get a Pavoni espresso maker, and I think that kind of 
counts, doesn't it?

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From h-costume-bounces@indra.com  Sat Dec 27 01:17:29 2003
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From: "Chiara" <chiara@io.com>
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Subject: Re: [h-cost] So, What'd ya get?
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257 pieces of spam for not checking my email for 4 whole days. :(

(recovering from surgery ...)

I did not realize that I was deleting that much stuff from my "other" email
addresses that are for other activities. Sigh.

But I did get an mp3 player from hubby, a glass chess/checkers set, a
chinese ink set up addition for my calligraphy box, very nifty storage boxes
for my jewelry, and a beautiful 500 piece puzzle from my 2 year old that is
a picture of victorian sewing notions. I have to say that last one is my
favorite. :)

He knows what mommy loves most! (After him, his siblings, Daddy, and kitty
of course *wink*)

Chiara

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From h-costume-bounces@indra.com  Sat Dec 27 01:50:11 2003
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I collect little dressmaker dummy dolls that come dressed in costumes.
Katie gave me three this year, two like elves and one as Santa.  I also got
three crystal angels for my angel collection.  My husband and younger sons
gift is to purchase a wallpaper border and paint to re-do my office next
weekend.

So how many of you had to protect your sewing scissors with your life from
others wanting to use them on wrapping paper?  LOL!  I gave a death threat
to every person in my house if they used them.

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


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Subject: Re: [h-cost] So, What'd ya get?
Date: Sat, 27 Dec 2003 01:44:24 -0500
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I forgot... I did get the Pirates of the Caribbean DVD from another son.
The bonus material on the DVD is wonderful.  Not much on costumes but a lot
on makeup.  I also enjoyed the digital enhancements for the skeleton
pirates.

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


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Subject: Re: [h-cost] So, What'd ya get?
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In a message dated 12/27/2003 1:41:13 AM Eastern Standard Time, penny@costumegallery.com writes:

> So how many of you had to protect your sewing scissors with your life from
> others wanting to use them on wrapping paper?  LOL!  I gave 
> a death threat
> to every person in my house if they used them.

I had to finally designate (read that as sacrifice) one of my pairs of sewing shears to cutting paper (caught hubby using them, but since he was wrapping my QEWU, I couldn't yell too much).  <sigh>  Thank goodness I've got lots of backups, and I hid every single other pair!

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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In a message dated 12/27/2003 1:41:13 AM Eastern Standard Time, penny@costumegallery.com writes:

> So how many of you had to protect your sewing scissors with your life from
> others wanting to use them on wrapping paper?  LOL!  I gave 
> a death threat
> to every person in my house if they used them.

I had to finally designate (read that as sacrifice) one of my pairs of sewing shears to cutting paper (caught hubby using them, but since he was wrapping my QEWU, I couldn't yell too much).  <sigh>  Thank goodness I've got lots of backups, and I hid every single other pair!

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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Subject: [h-cost] more ebay book finds
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Here are a number of eBay books someone on this list might find 
interesting. Apparantly a lot got listed today, because sales listings were 
free. So, if you have some Xmas money to spend...

1977 Historic Costume Pattern Drafting Arnold
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3263112723
"Patterns of Fashion 2 - Englishwomen's Dresses & Their Construction, 
1860-1940", 1977 U.S. edition, 88 pages. I have it, and it is a wonderful book.

For those into Chinese garments.
5000 Years of Chinese Costumes
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3575981182&category=29331

And one that just seemed interesting.
Eevi Astel. Eesti vööd (Estonian girdles, AKA sashes & ribbons) . Estonia 1998
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3575880405&category=29331

For a true collector
HISTORIC COSTUMES ZUR GESCHICHTE DER KOSTUME
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3575878840&category=31371

OTTOMAN TURKISH COSTUME & GARMENTS "2 VOLUME"
508 ENGRAVINGS on TURKEY LEVANT COSTUMES
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3575836932&category=29321

TR CANAKKALE DEVELOPMENT FOLKLORE COSTUME
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3575857886&category=26475

Recurring Cycles of Fashion, 1760 - 1937
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2879140385&category=48865

20,000 YEARS OF FASHION Boucher Costume
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3575773248&category=378

I think that's all for tonight. Enjoy all.

Kimiko
(who is still looking for the right costume book to add to my growing 
collection).


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 


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>So how many of you had to protect your sewing scissors with your life from
>others wanting to use them on wrapping paper?  LOL!  I gave a death threat
>to every person in my house if they used them.

I habitually hide my best scissors, and leave the general purpose ones out, 
so there was no problem here.


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

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In a message dated 12/26/2003 10:41:14 PM Eastern Standard Time, 
dawn@reddawn.net writes:
Transition from Natural to Synthetic Dyes, The (Historic Dyes S.)
~Alan Dronsfield, John Hamilton-Edmonds
Thanks very much for this information.  I had not heard of these books.  I'm 
particularly interested since this was the subject of my doctoral dissertation 
back in 1992.
Ann Wass
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From: Teena Kessinger  <bkessinger@ureach.com>
Subject: Re: Re: [h-cost] Florentine question, Teena
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Sure! Here it is!
http://groups.yahoo.com/group/Italian_Rennaissance_Costuming/





---- On Fri, 26 Dec 2003, Wendy (emmajean@myway.com) wrote:

>  Thanks, could you give me the address? I tried to find it in
the yahoo search but that's pretty much
> impossible.Cheers,Wendy--- On Fri 12/26, Teena Kessinger <
bkessinger@ureach.com > wrote:From:
> Teena Kessinger [mailto: bkessinger@ureach.com]To:
h-costume@indra.comDate: Fri, 26 Dec 2003 10:44:10
> -0500Subject: Re: [h-cost] Florentine questionI don't know
whether or not you do the yahoo groups,
> but thereis one for Italian Renaissance. That photo is the one
on ourwelcome page. I do a lot of
> Italian, but I haven't conqueredthat particular dress... yet.
I would imagine there are otherson that
> list who have. It is a gorgeous dress!Teena---- On Thu, 25 Dec
2003, Wendy (emmajean@myway.com)
> wrote:> Greetings all,I want to make the dress in the
attatchment, abeautiful green florentine
> dress with a> stand-up "collar" , but I was wondering if
anyone had an ideawhat the fabric would
> be, and what the> dangling ties are. I've found other
portraits with the samestyle of nec!
>  k but the fabric is heavily> quilted and without any kind of
tie or hanging decoration.I've not
> very familiar with Italian style.> Is this portrait an
>
oddity?Thanks,Happy>Festimas,Wendywww.hecate.ca/emma/http://f1.pg.photos.yahoo.com/ph/lilgeekboy/detail?.dir=/Armour.&.dnm=1540s_florentine.jpg>
> > _______________________________________________> No banners.
No pop-ups. No kidding.>
> Introducing My Way - http://www.myway.com>
_______________________________________________>
> h-costume mailing list> h-costume@mail.indra.com>
> http://mail.indra.com/mailman/listinfo/h-costume> >
> _______________________________________________h-costume
mailing
>
listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume
> 
> _______________________________________________
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> 

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We had four homes represented at our family's Christmas
celebration. Three of them received Pirates!



---- On Sat, 27 Dec 2003, Penny Ladnier
(penny@costumegallery.com) wrote:

> I forgot... I did get the Pirates of the Caribbean DVD from
another son.
> The bonus material on the DVD is wonderful.  Not much on
costumes but a lot
> on makeup.  I also enjoyed the digital enhancements for the
skeleton
> pirates.
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
> 
> 
> [This E-mail was scanned for viruses by Plugit.com Virus
Scanners (http://www.plugit.com)]
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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----- Original Message ----- 
From: "Teena Kessinger" <bkessinger@ureach.com>
To: "Penny Ladnier" <h-costume@indra.com>
Sent: Saturday, December 27, 2003 8:53 AM
Subject: Re: Re: [h-cost] So, What'd ya get?


> We had four homes represented at our family's Christmas
> celebration. Three of them received Pirates!

I wanted Pirates on DVD, but my mil bought the video for my 14 y.o. son. So
I will get my DVD later!  It was a Pirate year at my house, as the kids got
lots of Pirate-Viking themed toys this year

Dianne
>
>
>
> ---- On Sat, 27 Dec 2003, Penny Ladnier
> (penny@costumegallery.com) wrote:
>
> > I forgot... I did get the Pirates of the Caribbean DVD from
> another son.
> > The bonus material on the DVD is wonderful.  Not much on
> costumes but a lot
> > on makeup.  I also enjoyed the digital enhancements for the
> skeleton
> > pirates.
> >

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Robin Netherton wrote:

>>
>>And you can get them at:
>>https://www.amazon.co.uk/exec/obidos/search-handle-form/026-2903011-2076438
> 
> 
> Or go directly to the source:
> 
> John Edmonds
> 89 Chessfield Park
> Little Chalfont, Buckinghamshire, HP6 6RX  
> England
> 
> E-mail  edmondsxxx@yahoo.co.uk
> 
> He had a webpage last time I looked, but it seems to be down right now. I
> suppose that might mean he no longer sells directly, but I can't guess
> either way.


The last time I checked, back in early November the site was up but he 
referred all sales to Amazon.

I suppose he might send them if you wrote to him, but I figured it was 
easier for a lot of US folks to use the online service that takes credit 
cards. :)


> I feel certain I've recommended his books here before, but I can't lay my
> hands on the post...

Yes, I first heard about them here this summer when his Imperial Purple 
booklet made the news.



Dawn



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Penny Ladnier wrote:

> So how many of you had to protect your sewing scissors with your life from
> others wanting to use them on wrapping paper?  LOL!  I gave a death threat
> to every person in my house if they used them.

My husband is pretty well trained. He understands that my sewing 
scissors are my tools, and how to treat them properly. He dabbles in the 
textile crafts himself and has his own fabric scissors.

My MIL got us one of those under-the-bed giftwrap storage boxes a few 
years back and I loaded it with paper, ribbon, tape, and paper scissors. 
So it's all there and nobody has to raid the sewing room.  I also 
encourage the use of gift bags and re-useable boxes because they are so 
much easier than wrapping.



Dawn



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Heather Meadows wrote:

> I did, however, get a Pavoni espresso maker, and I think that kind of
> counts, doesn't it?

Oh that most definetly counts especially useful for those late night sewing
sessions.

I didn't get anything sewing related from my family at all, but they don't
really understand what I do or the things I think about.  What I thought
might be a zipped up set of tapes on spirituality/philosophy turned out to
be a body lotion set from grace/philosophy instead!!!   Oh well, I did
receive a couple of very nice handbags though thanks to a wish list :)

Not a Christmas present but I am about to receive my parents old dining room
table, about four feet wide and twelve feet long, plus to leaves to extend
the table to eighteen feet!  Perfect for sewing/cutting/screenprinting, but
I think it will end up in my bedroom and I'll have to sleep under it at the
moment!!!  Oh well, can't let this offer pass me by.

Lisa






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From h-costume-bounces@indra.com  Sat Dec 27 10:16:35 2003
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      My mother's trick for this was to have a pair of scissors in the 
junk drawer of the kitchen. They were always more convenient to get 
to than digging through the sewing box.  Because of that, I don't 
remember many problems with using the wrong scissors.  Scissors are 
fairly cheap in the stationery aisle, and once I got a set of 3 for 
about $5 at Ikea.  It's a good insurance policy all through the year, 
because there are always things to cut besides wrapping paper!

      -Carol


>>So how many of you had to protect your sewing scissors with your 
>>life from others wanting to use them on wrapping paper?  LOL!  I 
>>gave a death threat to every person in my house if they used them.
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Subject: Re: [h-cost] So, What'd ya get?
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On Sat, 27 Dec 2003, Dawn wrote:

> The last time I checked, back in early November the site was up but he
> referred all sales to Amazon.

Thanks. That's more recently than I've looked at it.

> > I feel certain I've recommended his books here before, but I can't lay my
> > hands on the post...
> 
> Yes, I first heard about them here this summer when his Imperial Purple 
> booklet made the news.

Yes! That's the thread I'm remembering.

--Robin

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] So, What'd ya get?
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I had to learn to hide my best scissors as well, since my husband never seems to remember that some scissors are NEVER to used for cutting paper.  His reasoning-- the time I caught him brandishing my ginghers toward a roll of holiday paper--was that I 'would'nt notice , just once'.But , then, he built me a sewing studio--so all the 'good scissors ' are now out there--while the kitchen 'junk drawar '  has 2 pairs of 'utility scissors'.
Problem solved:)  And marriage saved:)
Albra

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

>So how many of you had to protect your sewing scissors with your life from
>others wanting to use them on wrapping paper? LOL! I gave a death threat
>to every person in my house if they used them.

I habitually hide my best scissors, and leave the general purpose ones out, 
so there was no problem here.


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

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> So how many of you had to protect your sewing scissors with your life
> from others wanting to use them on wrapping paper?  LOL!  I gave a
> death threat to every person in my house if they used them.

I put all my old Fiskers and that ilk where they can be easily found. 
My Ginghers (bright shiny things that they are) stay in my sewing 
room (except when I need to use the living room floor for cutting out 
things with trains or other really long things).

For the protection against wrapping paper, I keep one old pair of 
Fiskers with the paper, tape and ribbons so that there is less 
likelihood anyone would even think of going for my good pair.

Fortunately, my husband does understand that it can ruin scissors to 
use them on materials other than the ones for which they are 
intended. (He has leather scissors which are just for leather.) But 
it helps that he is also a blacksmith and knifemaker. ;)

Kat
<kat@redtrollforge.com>


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All sewing scissors live in the studio. All other scissors live in the
kitchen. :)

Even the 2 year old knows the rule about the scissors, and he knows that he
is not supposed to touch them much less go into the studio without mommy!

Chiara
----- Original Message -----
:
: > So how many of you had to protect your sewing scissors with your life
: > from others wanting to use them on wrapping paper?  LOL!  I gave a
: > death threat to every person in my house if they used them.

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In a message dated 12/27/2003 3:47:19 AM Eastern Standard Time, kimiko@kimiko1.com writes:

> Costume Mistress for Isle of Mann Guild
> Graphic Intern at Costume Gallery

Kimiko:

That doesn't happen to be the Isle of Mann based in Fresno, CA, now does it?

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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In a message dated 12/27/2003 3:47:19 AM Eastern Standard Time, kimiko@kimiko1.com writes:

> Costume Mistress for Isle of Mann Guild
> Graphic Intern at Costume Gallery

Kimiko:

That doesn't happen to be the Isle of Mann based in Fresno, CA, now does it?

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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In a message dated 12/27/2003 11:14:45 AM Eastern Standard Time, albrakat7@yahoo.com writes:

> I 'would'nt notice , just once'.But , then, he built me a sewing studio--so all the 'good scissors ' are now out there--while the kitchen 'junk drawar '   has 2 pairs of 'utility 
> scissors'.

I finally made my point when I came in from the garage with his favorite screw-driver, a box of nails, and a new family portrait, and started pounding a nail with the handle of the screwdriver.  With my DH, it's all about VISUAL LEARNING.

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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From h-costume-bounces@indra.com  Sat Dec 27 15:44:33 2003
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mmmmmm--gee, Laura,  what a very sensible way to 'drive home' the point(evil grin).My husband is VERY visual about learning as well--if he ever makes his old mistake again--I'll be sure and remember that technique:)
Albra 

MysticsLady9@aol.com wrote:
In a message dated 12/27/2003 11:14:45 AM Eastern Standard Time, albrakat7@yahoo.com writes:

> I 'would'nt notice , just once'.But , then, he built me a sewing studio--so all the 'good scissors ' are now out there--while the kitchen 'junk drawar ' has 2 pairs of 'utility 
> scissors'.

I finally made my point when I came in from the garage with his favorite screw-driver, a box of nails, and a new family portrait, and started pounding a nail with the handle of the screwdriver. With my DH, it's all about VISUAL LEARNING.

Laura
"Never interrupt your enemy while he is making a mistake" Napoleon Bonaparte
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At 01:49 PM 12/27/2003 -0500, you wrote:
> > Costume Mistress for Isle of Mann Guild
> > Graphic Intern at Costume Gallery
>
>Kimiko:
>
>That doesn't happen to be the Isle of Mann based in Fresno, CA, now does it?
>
>Laura
>"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte


Hi Laura,

Yes, it is the same group, although technically they are based in Tulare 
where Pat and Author live, just a bit south of me here in Fresno.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 

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From h-costume-bounces@indra.com  Sat Dec 27 17:58:35 2003
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Don't know if you're interested in any of these, but I listed some of my
costuming books for sale this morning...

The Tailor's Pattern Book (Alcega)
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576029612&category=29331
&rd=1

The Costume Technician's Handbook
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576053477&category=29331
&rd=1

The Art of Dress
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576302557&category=29331
&rd=1

20,000 Years of Fashion
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576303521&category=29331
&rd=1

Historical Encyclopedia of Costumes
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576304681&category=29331
&rd=1

I'll probably have a few more in a couple of days.

Lori S
battlefieldsandballrooms


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Subject: Re: [h-cost] Re: more ebay books
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At 03:55 PM 12/27/2003 -0600, you wrote:
>Don't know if you're interested in any of these, but I listed some of my
>costuming books for sale this morning...


Hello Lori,

Oh, my goodness yes. Thanks for the post, and I will keep an eye out for 
whatever else you have up for bid. I am sure I will be bidding against a 
few from this list for them.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 

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We had the same problem....once,lol. Hubby used one of my "good" Knives to pry open a storm grate for a neighbor! not to mention he completely broke off the tip!! We had a time out moment and now he has his own "cutlery" drawer. I asked him once had he been in my sewing box and he turned to me and said "No dear, I know better."
Happy Saturday, Angelique


---------------------------------
Do you Yahoo!?
Yahoo! Photos - Get your photo on the big screen in Times Square
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From h-costume-bounces@indra.com  Sat Dec 27 19:32:41 2003
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Subject: Re: [h-cost] Re: more ebay books
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Why is it the good deals only happen when I am broke and have to stay that
way for the good of my long term financial goals.  Just shot me now!

Stephen

One thing you got to say about the Republicans, they don't give up easily.
Impeach Clinton, steal Florida, redistrict Texas, recall Davis.  You know
what, these guys had better watch out or they're going to get slapped with
the reputation of being extremely sore losers.


----- Original Message -----
From: "Lori Sharpsteen" <lsharp@fidnet.com>
To: <h-costume@indra.com>
Sent: Saturday, December 27, 2003 1:55 PM
Subject: [h-cost] Re: more ebay books


> Don't know if you're interested in any of these, but I listed some of my
> costuming books for sale this morning...
>

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Teena,

My daughter said every one of her friends received Pirates too!  I guess it
was the #1 selling video last week.

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


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I've also been listing like mad (that free listing day yesterday) and I
listed some Folkwear Patterns, and a few history books including two by
Antonia Fraser. I can be found here:

http://snipurl.com/3csb


Bice
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
Live Journal http://snipurl.com/3jcs
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From h-costume-bounces@indra.com  Sat Dec 27 19:39:26 2003
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I wish I could train my kids to leave the scissors alone.  We have about
five pairs of junk scissors.  I have three pairs sewing scissors.  They know
not to mess with my expensive pair, but they went after my small sewing
scissors.  I told them that if they messed with my expensive pair to expect
to replace them.  That was enough to keep them away from them.

Then they took off with my office tape dispenser.  Next year, the wrapping
paper box will not sit in my office!

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


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From h-costume-bounces@indra.com  Sat Dec 27 20:09:36 2003
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Historical Fashion In Detail, from my DH.  Cut My Cote, from myDD.

Snow fallen on snow,
      and this evening, the full moon of November
Basho


----- Original Message ----- 
From: "Pierre & Sandy Pettinger" <costumrs@radiks.net>
To: <h-costume@indra.com>
Sent: Thursday, December 25, 2003 10:54 PM
Subject: [h-cost] Re: What'd ya get?


> Only a little costume related this year, for Pierre - Figures in Fabric -
> the Sculpture of Lisa Liechtenfels, and another Osprey military
> history.  Both of us got things for our other passions, though, reading
> (both) and cooking (me).  We both got B&N gift cards, and I got 3 of the
> Master and Commander book series and the first Horatio Hornblower book.
He
> also got a book light.  I got a popcorn popper, popcorn, a nylon whisk
(for
> non-stick pans), and a new toaster/broiler oven.  COOL!!
>
> Pierre and Sandy
>
> >So, tell us, what nifty costume or sewing related presents did you get?
> >
> >Merry Christmas,
> >Margo
>
> "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
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: [h-cost] OT: Wax on Tablecloth
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Can someone please tell me how to get candle wax out of a tablecloth?

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


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From h-costume-bounces@indra.com  Sat Dec 27 20:57:46 2003
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From: "Bice d'Este" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] OT: Wax on Tablecloth
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Get some wax paper set it on the wax and gently iron on medium heat. Brown
paper also works. Then wash.


Bice
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
Live Journal http://snipurl.com/3jcs
----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: December 27, 2003 8:11 PM
Subject: [h-cost] OT: Wax on Tablecloth


> Can someone please tell me how to get candle wax out of a tablecloth?
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
> _______________________________________________
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From h-costume-bounces@indra.com  Sat Dec 27 21:00:51 2003
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Penny wrote:
> Can someone please tell me how to get candle wax out of a tablecloth?
>

Put the tablecloth in the freezer.  When the wax is hard, use the back of a
table knife to scrape as much of the wax off the tablecloth as possible.
Then put a piece of brown paper over the wax and iron it off gently with a
warm iron.  Allow to cool and repeat with a clean piece of brown paper until
you get it all.  Then wash.  Hopefully, it was a white candle...  If it
wasn't, then you need to treat the stain to get out the color.
                  -Helen/Aidan


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From h-costume-bounces@indra.com  Sat Dec 27 21:23:06 2003
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Subject: Re: [h-cost] Ebay Listings
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Me, too...some cotton heirloom type lace
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2369044988

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2369045270

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2369045480

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2369045676

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2369046440

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2369046688

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2369052741

and other stuff.
Kate
----- Original Message ----- 
From: "Bice d'Este" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 27, 2003 7:35 PM
Subject: [h-cost] Ebay Listings



> I've also been listing like mad (that free listing day yesterday) and I
> listed some Folkwear Patterns, and a few history books including two by
> Antonia Fraser. I can be found here:
> 
> http://snipurl.com/3csb
> 
> 
> Bice
> Now announcing the new
> Rolled Florentine Cap
> Kristalori History
> www.swapking.com/hats
> Also on Ebay:  http://snipurl.com/3csb
> Live Journal http://snipurl.com/3jcs
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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Subject: Re: [h-cost] OT: Wax on Tablecloth
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Take a plain sheet of paper (white printer paper is fine), and lay it on
the wax spot. Take a warm to hot iron (you may need to experiment a bit,
but start with the lower temperatures), and iron the paper. The paper
should lift the wax.

You should scrape off as much of the wax as you can before you do this,
but it generally works pretty well. Your iron should be set for
DRY--don't use steam.

Good luck!

Arlys

On Sat, 27 Dec 2003 20:11:23 -0500 "Penny Ladnier"
<penny@costumegallery.com> writes:
> Can someone please tell me how to get candle wax out of a tablecloth?
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
> 
> 
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners 
> (http://www.plugit.com)]
> 
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume
> 


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I only ever get chep scissors for this very reason;) That way they become
paper scissors which are constantly getting lost;)

Right now everyone knows they can use the black handled scissors, and the
orange handled scissors.

but heaven help them if they touch the red or clear handled ones;)

Colour coding works for scissors as well as toothbrushes here you see:)

michaela
http://costumes.glittersweet.com


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 Thanks,My husband is the armourer, and I will definately tell him. The pictures are for an armour archive board he is on, when I asked him to make the link for the portrait, I guess he didn't realize the rest was attached, (I'm computer-hostile.) Wendywww.hecate.ca/emma/--- On Sat 12/27, Gail &amp; Scott Finke &lt; gailscott@eos.net &gt; wrote:From: Gail &amp; Scott Finke [mailto: gailscott@eos.net]To: emmajean@myway.comDate: Sat, 27 Dec 2003 10:53:29 -0500Subject: picturesWendy:My husband certainly enjoyed all the pictures of armor that come before theportrait you posted! Seriously, he could not get over them. I thought theywere great, too. We want pictures of the armor on!!! Who is the armorer andcan we send him a note to say how great we thought it was? I know you willshow this to him, but we'd like to write anyway --Gail Finkefrom h-costume

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I just came across this very interesting http://www.ulib.csuohio.edu/shakespeare/ . It's a database of around 400 photographs of costumes from the plays of Shakespeare from 1870 to 1982 taken from regional production companies, motion pictures and Shakespeare festivals.

Lisa Sinervo


 
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> On Sat, 27 Dec 2003 20:11:23 -0500 "Penny Ladnier" wrote:
:
> > Can someone please tell me how to get candle wax out of a tablecloth?

The dry cleaners I once worked at scraped off the wax then turned the fabric
upside down and blew a stream of steam at the remaining wax.  Might work if
you have an iron with a seperate steam tank or some other steam generating
device.  The paper method works too.

Lisa Sinervo


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I just came across this very interesting http://www.ulib.csuohio.edu/shakespeare/ . It's a database of around 400 photographs of costumes from the plays of Shakespeare from 1870 to 1982 taken from regional production companies, motion pictures and Shakespeare festivals.

Lisa Sinervo



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From h-costume-bounces@indra.com  Sun Dec 28 00:46:33 2003
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Audrey,

Did you know you can get a pressing cover for these kinds of tables?  I've 
got a table like this (and love it - no drawers, tho') and when we bought 
it, right beside them Hancock's was selling pressing covers.  It goes over 
the entire top when open, and has a 1" grid, bias lines, etc. printed on 
it.  One caveat:  the backing is kind of cheap foam, so I would take an old 
non-synthetic blanket and put under it.  It's nice to have a large pressing 
surface sometimes.

HTH,

Sandy

>From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
>
>But sewing related, I got one of those great foldable cutting tables on
>wheels. The central section is about 18 inches wide and it has drawers
>underneath and there are two panels that can be folded down on either side,
>it's very long once opened. It's hip-height, so it's just the right height
>to pin, cut, etc. My mom was tired of seeing me pin and cut on the floor :-)

"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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>       My mother's trick for this was to have a pair of scissors in the
> junk drawer of the kitchen. They were always more convenient to get
> to than digging through the sewing box.  Because of that, I don't
> remember many problems with using the wrong scissors.  Scissors are
> fairly cheap in the stationery aisle, and once I got a set of 3 for
> about $5 at Ikea.  It's a good insurance policy all through the year,
> because there are always things to cut besides wrapping paper!

I have at least 5 pairs of scissors scattered in different rooms throughout
the house and it was still my sewing scissors that I found with the wrapping
paper and ribbon!

Janet

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

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KATHRYN WOLTERS <albrakat7@yahoo.com> wrote:
> 
> I had to learn to hide my best scissors as well, since my husband never seems to remember that some scissors are NEVER to used for cutting paper.  His reasoning-- the time I caught him brandishing my ginghers toward a roll of holiday paper--was that I 'would'nt notice , just once'.But , then, he built me a sewing studio--so all the 'good scissors ' are now out there--while the kitchen 'junk drawar '  has 2 pairs of 'utility scissors'.
> Problem solved:)  And marriage saved:)

I've threatened to use the tiny shears my husband uses to trim his 
beard.  After that, he got the idea about my sewing scissors.  Now, 
if I could only train him to quit using my jeweler's hammers and mallets
on "quick" projects.  I nearly killed him when I found out that the
toolbox that was stolen had my farrier's hammer in it (which should have
never left my workbench).  

My mother bought me a new leather jacket this year.  My brother saw the big
box with Harley Davidson wrap under the tree and immediately thought it was
for himself.  He was crushed when he found out it was for *me*. ;}  Unlike
most women's jackets these days, the Harley jacket has bust darts in it,
which means it actually fits me.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Date: Sun, 28 Dec 2003 06:54:34 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] OT: Wax on Tablecloth
To: Historical Costume <h-costume@indra.com>
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I've had good success with actually putting the item in the freezer for a few hours and then 'flicking' the wax out.
Albra

Cynthia J Ley <cley@juno.com> wrote:
Take a plain sheet of paper (white printer paper is fine), and lay it on
the wax spot. Take a warm to hot iron (you may need to experiment a bit,
but start with the lower temperatures), and iron the paper. The paper
should lift the wax.

You should scrape off as much of the wax as you can before you do this,
but it generally works pretty well. Your iron should be set for
DRY--don't use steam.

Good luck!

Arlys

On Sat, 27 Dec 2003 20:11:23 -0500 "Penny Ladnier"

writes:
> Can someone please tell me how to get candle wax out of a tablecloth?
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
> 
> 
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners 
> (http://www.plugit.com)]
> 
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From h-costume-bounces@indra.com  Sun Dec 28 10:30:32 2003
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Subject: Re: [h-cost] scissors
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I've heard of women who padlock their sewing scissors to keep the family
from using them.  Or, hiding them in empty feminine hygiene boxes(husbands
won't go near those). ;=)

p.s. I know I need to change the sig. I just haven't found a good one.

Snow fallen on snow,
      and this evening, the full moon of November
Basho


----- Original Message ----- 
From: "Janet Davis" <castle8@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, December 28, 2003 2:48 AM
Subject: Re: [h-cost] scissors


> >       My mother's trick for this was to have a pair of scissors in the
> > junk drawer of the kitchen. They were always more convenient to get
> > to than digging through the sewing box.  Because of that, I don't
> > remember many problems with using the wrong scissors.  Scissors are
> > fairly cheap in the stationery aisle, and once I got a set of 3 for
> > about $5 at Ikea.  It's a good insurance policy all through the year,
> > because there are always things to cut besides wrapping paper!
>
> I have at least 5 pairs of scissors scattered in different rooms
throughout
> the house and it was still my sewing scissors that I found with the
wrapping
> paper and ribbon!
>
> Janet
>
> Janet Davis
> Castle Furnishings
> http://www.medievalbookstore.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: [h-cost] dyeing silk satin
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I saw some hideous fushia silk satin at a good price. Is it dyeable? What color might I get out of it? (Not to mention is dylon okay?) TIA! Angelique


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My husband got a funny idea. Hopefully I will organise an archery demo 
on a fantasy fair next year.
Our Archery club is called Artemis '79 and my husband thought it would 
be fun if I would go dressed like Artemis.
Now I am looking for pictures on the internet to see waht it would look 
like.
And I could use some help.

Greetings,
        Deredere


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[Sg] Sounds like a great idea!    You will look great I am sure!
[Sg] Be sure to also look for material under Diana, Goddess of the hunt
etc....

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To: Historical Costume <h-costume@indra.com>
Subject: scissors, was Re: [h-cost] So, What'd ya get?
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I don't get it.  I usually buy scissors in the $30 range, and use them
for whatever until they aren't as nice as they were, then buy another
pair.  The newest pair is usually/always the pair I use for cutting
fabric, but I also use them for other stuff. Probably buy a new pair
every 3-5 years.

>From what I read, it seems like this approach (not guarding my fabric
scissors with my life) is anathema to most sewers.  Why?

K.
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Subject: Re: [h-cost] Looking for pictures of Artemis greek goddes
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http://www.pantheon.org/articles/a/artemis.html


Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
Live Journal http://snipurl.com/3jcs
----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "H-Costume" <h-costume@indra.com>
Sent: December 28, 2003 10:36 AM
Subject: [h-cost] Looking for pictures of Artemis greek goddes


> My husband got a funny idea. Hopefully I will organise an archery demo 
> on a fantasy fair next year.
> Our Archery club is called Artemis '79 and my husband thought it would 
> be fun if I would go dressed like Artemis.
> Now I am looking for pictures on the internet to see waht it would look 
> like.
> And I could use some help.
> 
> Greetings,
>         Deredere
> 
> 
> _______________________________________________
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Subject: Re: scissors, was Re: [h-cost] So, What'd ya get?
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Mostly because most people buy a pair of $30 scissors and that's it for a
long time(more than 3 years). I don't even own a pair that pricey. My most
expensive are some that cost $10 and woe betide the creature that uses them
on paper.


B~
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----- Original Message ----- 
From: "Kirrily Robert" <skud@infotrope.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: December 28, 2003 12:13 PM
Subject: scissors, was Re: [h-cost] So, What'd ya get?


> I don't get it.  I usually buy scissors in the $30 range, and use them
> for whatever until they aren't as nice as they were, then buy another
> pair.  The newest pair is usually/always the pair I use for cutting
> fabric, but I also use them for other stuff. Probably buy a new pair
> every 3-5 years.
>
> >From what I read, it seems like this approach (not guarding my fabric
> scissors with my life) is anathema to most sewers.  Why?
>
> K.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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     Scissors are thought to get duller faster if you use them to cut paper (I 
don't know if this is true or not).  More importantly, paper scissors are often 
not cared for very well, and as "lesser" scissors might be used to cut a thin 
bit of wire, they might hit a staple, etc.  This causes nicks in the blade 
that, when cutting fabric, will skip cutting a thread.  When cutting a thin 
silk, it's REALLY maddening!  But scissors with nicks in the blades will still 
cut most paper just fine.  So if I have a pair or three around for general use, 
I can get a lot of mileage out of my sewing scissors.

     We were discussing this last night at a party.  A friend mentioned how she 
prevented someone from using another friend's sewing scissors for paper.  The 
perpretrator claimed that using them on paper just once would not hurt the 
scissors.  My friend explained that while he may be right, the owner of the 
scissors doesn't believe that, and he could prevent a lot of grief (and 
possible bodily harm) by using other scissors.  He realized the error of his 
thinking...

     -Carol


Kirrily Robert <skud@infotrope.net> said:
> I don't get it.  I usually buy scissors in the $30 range, and use them
> for whatever until they aren't as nice as they were, then buy another
> pair.  The newest pair is usually/always the pair I use for cutting
> fabric, but I also use them for other stuff. Probably buy a new pair
> every 3-5 years.

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] So, What'd ya get?
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*lol*

well, my best friend gave me a book on heraldry, a
Dover book filled with photos of Victorian clothing,
and a leather 'chest' handbag to put my small jewelry
in for cons or SCA.

Nick and Teren got me a 'garnet' choker and bracelet
that looks fun--i know it's older but not how
old-hopefully I can find some help placing a time
period or inspiration for it in the next year.

a check coming from my mother which will likely go for
sewing supplies or more books.

a really good wool sale on the 20th, where I got lots
of lightweight 100% wool ends, and took my niece so
that she could pick out some for a GFD of her own.

we also got movies: Pirates of course, and a
subscription to Netflix.

Plus, non-costume related, but Sword and Sorceress XII
(XIII?) with a Royo cover and a short story in in by
Heather. (My sci-fi/fantasy book hoard alone is larger
than my fabric hoard!)And a new LARGE roaster which
can be used for my parties and the cons to cook in.
:-)

Angharad
Who has some dark loden green wool to practice making
a sideless surcote with before the rose-pink gets
here-whoo hoo!

__________________________________
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Subject: [h-cost] Re: scissors
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Kirrily Robert wrote:
>>From what I read, it seems like this approach (not guarding my fabric
> scissors with my life) is anathema to most sewers.  Why?

Using scissors is like driving a car. I get used to the way they handle 
and what I can expect from them, and using a different pair makes my job 
harder because I have to slow down and pay more attention to how they 
are working. I sharpen my scissors and knives frequently at home to keep 
them in the best condition. I only bought a new pair of expensive 
scissors a few years ago when one of my housemates broke the tip off the 
pair I inheirited from my grandfather.

For a while I was buying those cheap orange handled scissors and doing 
just what you do, using them for about a year then buying a new pair and 
relegating the old ones to craft use. I got tired of needing to buy new 
sharp scissors every time I started a costume project, though.



Dawn


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In a message dated 12/28/2003 12:46:29 PM Eastern Standard Time, 
dawn@reddawn.net writes:
For a while I was buying those cheap orange handled scissors and doing 
just what you do, using them for about a year then buying a new pair and 
relegating the old ones to craft use. I got tired of needing to buy new 
sharp scissors every time I started a costume project, though.
To weigh in on scissors/shears.  First, my husband hates to wrap, and we are 
switching over to bags and boxes, so don't usually need to use scissors, 
although I do keep a pair in my wrapping paper storage.

I'm left-handed, and got a pair of Wiss shears for my birthday years ago.  
They were my shears of choice until I discovered Ginghers.  The Wiss just can't 
handle heavy fabrics as well.  I understand that Ginghers are the only shears 
to reverse the blades as well as the handles for left-handers.  But I have 
found they are very prone to being knocked out of alignment when dropped (yeah! 
I'm bad about that).  So I sent them back to be re-conditioned.  Meantime, I 
won as a door prize a pair of the Fiskars with squeeze handles that look kind of 
like garden shears.  I love these and tend to use them more than my Ginghers. 
 Handedness is not a big issue with them,  When I misplaced them, I used my 
50% off coupon at JoAnns to get another pair.

And as to pinking shears, the Ginghers are the ONLY left-handed pair I have 
found that works at all.  I don't use them often, but am glad I have them.

Ann Wass
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Looks like I am a little behind in this, hubby had the computer room
dismantled while we setup the new wall of Libra shelving that was part
of our Christmas to each other.  Woo Hoo, more shelves for books :),
including 2 reproductions of period embroidery books I got for
Christmas, double Woo Hoo :) :) :).

Dawn:  I didn't make it to Cy's after Christmas sale.  Did I miss much?

Scissors:  I gave the hubby his own pair years ago out of self-defense. 
Works pretty good altho he still has a tendency to grab my semi-good
pair of embroidery scissors from time to time.

Bobbin Lace;  for period patterns Le Pompe is about the only one out
there.   Modern torchon patterns have similarities to late period
patterns so a books on those would give you some to work with.  Sorry I
don't have one particular book to recommend.  And if you want to work
with metallics I have had pretty good luck with the DMC gold & silver
meant for embroidery.

Catherine

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At 07:39 PM 12/27/2003 -0500, Penny Ladnier wrote:
>I wish I could train my kids to leave the scissors alone. 

Penny, try putting a small padlock through the finger loops!

Margo

"One Tough Costumer"

www.margospatterns.com
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
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Subject: [h-cost] Question on fur usage (12-14th cen, Tudor, Elizabethan)
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I received the following message from a friend:

"Before I bang my head against the wall of research
yet again (and my free time is limited with projects
to finish for 12th night, Rustycon, etc) I thought I’d
ask someone who might know:  Seal fur.  Specifically,
white seal fur.  Do you know off hand if this was used
in period?  I’m asking because one of my suppliers has
it on clearance, and it’s quite lovely. . . but I
don’t want to buy it if I can’t USE it."

I looked and realized that I don't know, none of my
notes that I've ever taken dealt specifically with
seal-type fur-and I've been looking more into cat-type
usage lately (Lynx).

I asked her what period she meant, and the replay was
for 12-14th century usage, as well as for Tudor or
Elizabethan.

Does anyone have an answer that I could forward?

Thank you,

Angharad

 



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I'm wondering  if about the only time might be something russian? Now I'm
curious....

B~
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
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----- Original Message ----- 
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: December 28, 2003 3:55 PM
Subject: [h-cost] Question on fur usage (12-14th cen, Tudor, Elizabethan)


> I received the following message from a friend:
>
> "Before I bang my head against the wall of research
> yet again (and my free time is limited with projects
> to finish for 12th night, Rustycon, etc) I thought I'd
> ask someone who might know:  Seal fur.  Specifically,
> white seal fur.  Do you know off hand if this was used
> in period?  I'm asking because one of my suppliers has
> it on clearance, and it's quite lovely. . . but I
> don't want to buy it if I can't USE it."
>
> I looked and realized that I don't know, none of my
> notes that I've ever taken dealt specifically with
> seal-type fur-and I've been looking more into cat-type
> usage lately (Lynx).
>
> I asked her what period she meant, and the replay was
> for 12-14th century usage, as well as for Tudor or
> Elizabethan.
>
> Does anyone have an answer that I could forward?
>
> Thank you,
>
> Angharad
>
>
>
>
>
> __________________________________
> Do you Yahoo!?
> New Yahoo! Photos - easier uploading and sharing.
> http://photos.yahoo.com/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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Hey everyone!

I was hoping to pick your brains on a problem I am having.  Namely not
having enough light in my sewing room!  I have gone searching for bright
lamps and cannot seem to find any.  All of the halogen lamps are only 300
watts and not very bright and nobody seems to make a lamp that throws
enough light to sew by.

So what do you have in the way of lighting in your sewing area?  Do you
have any recommendations as to where I can find brighter lighting?

Thanks in advance!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
_______________________________________________
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Lighting woes for my sewing room
Date: Sun, 28 Dec 2003 23:45:41 -0600
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Try full spectrum fluorescent tubes.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Diana Habra
Sent: Sunday, December 28, 2003 9:01 PM
To: Historical Costume
Subject: [h-cost] Lighting woes for my sewing room

Hey everyone!

I was hoping to pick your brains on a problem I am having.  Namely not
having enough light in my sewing room!  I have gone searching for bright
lamps and cannot seem to find any.  All of the halogen lamps are only
300
watts and not very bright and nobody seems to make a lamp that throws
enough light to sew by.

So what do you have in the way of lighting in your sewing area?  Do you
have any recommendations as to where I can find brighter lighting?

Thanks in advance!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
_______________________________________________
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 Dec 29 00:46:43 2003
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Subject: Re: [h-cost] scissors
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Due to marrying another person who sews, we had lots of scissors.  So I 
tested all of them, and rated them.  The poorer-quality ones were 
"rated" rough and we wrote that on the plastic handles.  Makes things 
much easier for non-fabric folks to figure out.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

And so, faced with shocking lack of documentation, I am forced to invent 
some of my own.  -- Cecil Adams
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From h-costume-bounces@indra.com  Mon Dec 29 03:39:46 2003
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Lighting woes for my sewing room
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Hi Diana,

Just how bright are you looking for?

In my sewing room, I have a ceiling fan with 3-65 watt Halogen bulbs in it 
(gotta have the ceiling fan as this room gets very hot in the summer, AC 
notwithstanding). I also have a task Ott light (color corrected florescent) 
that provides spot lighting for my sewing area or wherever I need. I then 
have three small low-watt halogen counter lights that are enough for my 
pattern drafting and other work over my storage cabinets (converted kitchen 
counters).

This really works well enough for me, even late at night. So why the mega 
watt lighting needs? What would you use them for? What do you mean the 300 
watt halogens aren't bright enough? I am really scratching my head on this, 
because the task lights I have are lower watts, but I still do great by them.

Otherwise, the only other suggestion I have is to get several halogen work 
lamps from Home Depot or Lowes or other home lumber store, and place them 
around the room. The one I am looking at online (Regent Twin Stand Work 
Light with Tripod) has two 500 watt T-3 double-ended halogen bulbs. My dad 
used them for his house/carpentry needs, and boy they light up a room.

Good luck!

Kimiko



At 07:01 PM 12/28/2003 -0800, you wrote:
>Hey everyone!
>
>I was hoping to pick your brains on a problem I am having.  Namely not
>having enough light in my sewing room!  I have gone searching for bright
>lamps and cannot seem to find any.  All of the halogen lamps are only 300
>watts and not very bright and nobody seems to make a lamp that throws
>enough light to sew by.
>
>So what do you have in the way of lighting in your sewing area?  Do you
>have any recommendations as to where I can find brighter lighting?
>
>Thanks in advance!
>
>--
>Diana Habra
>www.renaissancefabrics.net
>"Everything for the Costumer"





Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 

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Now that might work Margo!!!!!  Thanks for the idea!

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


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Subject: [h-cost] Re: scissors
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My expensive pair are Fiskars Softouch and are spring loaded.  They do not
have the two holes for the fingers.  You can see them here:
http://www.westons.com/acatalog/Online_Catalogue_Fiskars__Softouch__Scissors_644.html
I am left handed but do all my cutting with my right hand.  For years I
turned normal scissors upside down to cut.  My costume professor suggested
that I switch to the Softouch... then they cost about $45.  I see on this
webpage they are $37.50 now.  I have had this pair for about seven years and
not needed to sharpen them yet.  But I don't sew all the time.  They do take
some time to get used to using them... but it is worth it.  My hand no
longer hurts when I cut out things, even heavy fabrics.  The other nice
thing about the scissors is that they will lock into place with the switch
of a button.  Its the orange thing on the scissors image.  The pads on the
handles are really nice too.

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


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Subject: Re: [h-cost] OT: Wax on Tablecloth
Date: Mon, 29 Dec 2003 04:29:48 -0500
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Thank you to everyone for your suggestions!  I got the wax out using the
scrapping method and then an iron on medium heat.  We do not use brown paper
bags in our house (attracts roaches).  So I used a paper towel to absorb the
melted wax.  The wax was purple, so I put Spray N Wash on the stains after I
removed the wax.  Everything came out of the tablecloth.

Many thanks again!
Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com


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From h-costume-bounces@indra.com  Mon Dec 29 04:42:53 2003
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Subject: Re: [h-cost] Re: scissors
Date: Mon, 29 Dec 2003 04:40:50 -0500
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One last note... I used to buy the cheap orange handled scissors frequently
like people have mentioned.  I retired all of them for junk usage since I
bought the Softouch one.   I figured to buy a good pair at $45 that lasts
seven years is a deal compared to buying seven years of cheap orange ones.
I have also two small pairs of special scissors for sewing.  One stays in my
sewing machine case for using when on the machine.  The other one stays in
my embroidery kit.

While we are on sewing... since I changed to bifocals a few years ago, it is
the dickens to thread my sewing machine needles.  Any suggestions on what
has worked for you?  I used the old silver needle threaders for hand sewing
needles and that works.  But the light from the sewing machine reflects in
my glasses and makes it even harder to thread the needle.  For the past few
years I have been having my kids thread my sewing machine needle.  Any
suggestions other than having someone else do it?

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


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Subject: Re: [h-cost] scissors
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LOL!!! Basho... you caught me reading my mail backwards!  Thank you for the
padlock method too.  Hmmmm... the tampax drawer would be a good place to
hide the hair cutting scissors.  Maybe that will keep my daughter from
cutting all her Barbies' hair with those good scissors.  Okay, no jokes
here.......  I know some of you are thinking of them.

I can imagine one day when I die... my family goes through my stuff and
finds about 10 different types of scissors that I have hid.  Some people
have fabric obsessions... I have one for scissors and their specific
purposes.

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


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Subject: Re: [h-cost] Lighting woes for my sewing room
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  Firstly, I have to point out that although halogen lights are pretty 
bright, they also get very, very hot. I forget exactly what the 
statistics are, but many houses have burned down due to those tall 
halogen lights falling over (especially is they're on a carpet, they're 
not very stable). Plus, I can say from experience that two of those 
halogen torch lights will certainly contribute to heating up a room. 
While this is nice in the winter, it is not in the summer.
  One thing to look for, though, in your hunting is not the wattage, but 
the lumens. This depends on how efficient the bulb has been designed/made. 
That gives you an idea of how bright the light will be. 
My dad actually suggested that you see if you can find some florescent 
lamps used in drafting rooms. They're slightly blue tinted, but very 
bright. 

  I must admit, I don't understand everything I ought to about watts and 
lumens, but the info I've just given you has worked for me. Hope this helps!

Kate!


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Subject: Re: [h-cost] Re: scissors
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They make an attachment for Berninas that is an adjustable little magnifing
glass that you can swing up out of the way when you don't need it.  There's
also a generic one that's not as versitile that you could attach but I find
gets in the way if attached to my Kenmore -- so I either take off my glasses
for close work (which may not be the answer for too many more years) or hold
the glass in one hand and thread with the other.  Also using the tweezers
from my serger seems to help.
Kate

----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 29, 2003 4:40 AM
Subject: Re: [h-cost] Re: scissors


> One last note... I used to buy the cheap orange handled scissors
frequently
> like people have mentioned.  I retired all of them for junk usage since I
> bought the Softouch one.   I figured to buy a good pair at $45 that lasts
> seven years is a deal compared to buying seven years of cheap orange ones.
> I have also two small pairs of special scissors for sewing.  One stays in
my
> sewing machine case for using when on the machine.  The other one stays in
> my embroidery kit.
>
> While we are on sewing... since I changed to bifocals a few years ago, it
is
> the dickens to thread my sewing machine needles.  Any suggestions on what
> has worked for you?  I used the old silver needle threaders for hand
sewing
> needles and that works.  But the light from the sewing machine reflects in
> my glasses and makes it even harder to thread the needle.  For the past
few
> years I have been having my kids thread my sewing machine needle.  Any
> suggestions other than having someone else do it?
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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Subject: Re: [h-cost] Lighting woes for my sewing room
Date: Mon, 29 Dec 2003 14:53:14 -0000
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I use a daylight simulation bulb in my room which gives a clear light
dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716


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Subject: Re: [h-cost] Lighting woes for my sewing room
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These are the best lights I've used. I need to replace my one ott lite but
other than that these work great.    http://snipurl.com/3kvd


B~
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
Live Journal http://snipurl.com/3jcs
> At 07:01 PM 12/28/2003 -0800, you wrote:
> >Hey everyone!
> >
> >I was hoping to pick your brains on a problem I am having.  Namely not
> >having enough light in my sewing room!  I have gone searching for bright
> >lamps and cannot seem to find any.  All of the halogen lamps are only 300
> >watts and not very bright and nobody seems to make a lamp that throws
> >enough light to sew by.
> >
> >So what do you have in the way of lighting in your sewing area?  Do you
> >have any recommendations as to where I can find brighter lighting?
> >
> >Thanks in advance!
> >
> >--
> >Diana Habra
> >www.renaissancefabrics.net
> >"Everything for the Costumer"
>
>
>
>
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Costume Mistress for Isle of Mann Guild
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
>
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
Subject: [h-cost] Question on fur usage (12-14th cen, Tudor,
To: h-costume@net.indra.com
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There is an exant seal skin pair of breeches from the Viking era:
 
http://www.viking-experience.co.uk/authenticity/basickit/basickit6.html
 
Look for the Greenland breeches. Other than that, I would suspect that the typical usage of seal fur would be like beaver and other water mammals - hats, cloak linings, etc.
 
Kathy
 
~who came out of lurking for the first time~
 



---------------------------------
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Ah, I love the Fiskars as well.  I have used my 50% off coupons at Joann's
chain stores to get those several times (one pair got "borrowed" and has a
nick).  The price is often much better than Penny's website listed them for,
so shop around.  They also make a small pair of thread snips that I love and
keep right by the sewing machines.
-Megan


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I use a drafting lamp over my immediate sewing area, otherwise, we've got 2 
torchiers (sp?) in that room.  I do most of my cutting in the dining room, and 
in there we have a ceiling fan with 3 70-watt bulbs.

Laura
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Diana Habra wrote:

> So what do you have in the way of lighting in your sewing area?  Do you
> have any recommendations as to where I can find brighter lighting?
> 

I have similar problems to you. I have one small window and one of those 
halogen torchieres. I don't get much sewing done after sunset. The 300w 
halogen is fine for evening reading, ironing, or laying out patterns but 
I can't see to thread a needle by it or do any hand work.

When possible I commandeer the room with the best natural light for the 
sewing room. I've had wonderful rooms with picture windows and views of 
the garden or courtyard, but not in this house.

I tried to use desk lamps for task lighting, but I have so little 
surface to put them on and I already have to run two power strips into 
the room for the sewing machines and existing lighting, and when my iron 
comes on all the lights in the house dim at once. Plus anything with a 
cord the cats tend to pull onto the floor -- and my sewing room does not 
have a door.

If I had an overhead light I would put in one of those new low watt 
corkscrew shaped energy saving bulbs. It takes them a minute or two to 
warm up when you first turn them on -- not good for people who turn the 
lights on and off as they enter and leave rooms -- but after it gets 
going it gets really bright. I have the same lack of light problem in 
the kitchen and after replacing the single fixture with three of those 
the room really lit up!

What I want is skylights!


Dawn



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In a message dated 12/29/2003 1:33:07 AM Pacific Standard Time, 
penny@costumegallery.com writes:
Anymore, unless I'm cutting sheer silks, or a super-intricate pattern, I use 
a rotary cutter. 
Laura
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   "H-Costume@Indra. Com" <h-costume@indra.com>
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Subject: [h-cost] FW: Estrella War Class Reminder
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Hi folks, if anyone is going to Estrella and wants to teach I know the
organizer is still trying to fill out her schedule.  I will be teaching my
Puff & Slash, Gollar, and Shoulder Roll classes again if anyone is
interested.

 

Sg  (Sorry for the Cross posts)


Subject: Estrella War Class Reminder

 

Greetings to all the fabulous people who taught at Estrella War 2003

 

If you would like to teach again and have not already scheduled a class with
me please email me today with your class information. I am especially
lacking in Middle Eastern dance classes and brewing classes (and cooking
classes). I would also love a silk banner painting class.  If you know of
anyone who might be willing to teach please have them contact me
immediately. (or send me their contact information) The gate book is going
to the printers this week and I really need your help to fill out the class
schedule!

 

Thanks- 

 

Maestra Camilla

A&S Class Autocrat

Estrella War 2004

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Lighting woes for my sewing room-ott light floor model
Date: Mon, 29 Dec 2003 10:13:45 -0700
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[Sg] I like the light my ott light gives off, but I dislike the model I
have.  This is the floor standing type with the magnifying glass and long
narrow bulbs.  It tips over very easily and is very difficult to adjust to
get light without glare on the glass.  At $30 a crack for bulbs, tipping
over is a real issue.  Thank goodness for half off coupons at Joanns.
(Also, for a long time they couldn't keep them in stock!)

[Sg] I would avoid this model again.  

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I'm curretnly sewing in my kitchen, and the ceiling lights are directly over
the sink- nowhere near the table.  I got a gooseneck floorlamp at IKEA for
$10.  It can only take a 60W bulb, but because you can focus it on the task,
it maximizes the light.  I also switched to the GE Reveal bulbs.  While not
as color-correcting as my Ott Lite, the Reveal bulb throws a lot of good
quality light for only a little more money.
                     -Helen/Aidan



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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Lighting woes for my sewing room
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last year, on the Boxing Day (day after Christmas
sales), I picked up some of the spotlight/floodlights
in the Christmas stuff at Joann's for 75% off.  

Since I own my house, I installed them on the ceiling
and pointed them to afford the best light for my three
machines.  Yeah, I've got two green cords partially
showing (I hid them behind one large poster for part
of the wall) against my dark cobalt blue walls-but the
lighting is nice and strong.  

Angharad

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Hi everyone,
 
I've been lurking for quite some time now, getting the general grip of things. I am a former Confed/Civil War/Vic/Ed seamstress, turned Med/Ren in the past year and a half. I've done some work for small regional museums, did two historical fashion shows and reenactors, aside from my own costuming. 
Right now I am working on a scad of things- one in particular is a late period Venetian. I have a current theory about the ruff that occasionally appears in art. Two examples of these would be: http://au.geocities.com/bella_lucia_da_verona/VeronicaFrancoTerzaRimaC1576.jpg
http://au.geocities.com/bella_lucia_da_verona/venetiandebutante.jpg


There are two others in QEWU as well. I have been discussing this on another list, and have whittled down my theories as to the actual date and origin of this style to these:

1. That these are not native ruff fashions, but French imports. I can't find a large enough repository of French portraiture yet to substantiate this. Does anyone have some suggestions to head me in the right direction?

2. That these engravings are misdated. Does anyone have any information on the artist Giacomo Franco and the original sources for the engravings listed above? I would like to find out more about when and where this art was created. 

3. I suspect that the artist took creative license in making the partlet particularly noticeable, along with the weave pattern of the ruff. It is possible too, that the decorative material was a different colour, giving the artist reason to make them prominent. I frankly doubt the latter statement, but won't discount it as a possibility. Is there anyone out there that has an opinion either way?

4. The ruff, IMHO has a supportasse. It sits at a rather curious angle to be self-supporting, much less taking into account the pervasive moisture of Venice, I can't see starch being the sole support of this variation of ruff.  If so, how would that supportasse be made, and attached to the partlet?

5. I have had an enthusiastic debate time and again on this theory, so I'll throw it out here and see what comes of it. I feel that there was some kind of corseting involved in this period. I am thinking more of a corselet, utilising tension in the camicia to supply support to the bust along with a rather firmly attached partlet (to what, I have yet to conceive that notion)giving the inward push to create that full, rounded decolletage, and the corset holding the camicia in place while smoothing out the rolls that would exist on the typical rubenesque noble Venetian. I also believe that there was some brand of shoulder strap, to help distribute the weight of the costume evenly.  Recognizing that this particular style of peascod bodice will be padded and will muffle some of the undulating rolls that naturally occur has also crossed my mind, lending support to the opinion that there is NO corseting going on. Any opinions one way or the other on this?

6. This one is likely a bit of a dopey idea, but I'll ask it anyhow. I have no first hand contact with extant garments of the period, so I am relying on those that have, or have it on good authority. Is it possible that some of these dresses could have been two piece, and not one? It just seems to make more sense to hook-and-eye or point-tie the bodice and skirt together, making them more versatile and easier to wash. Everyone here has had experience wrangling massive amounts of fabric while washing, I can't imagine having to do it historically. Helping to preserve the textile and needlework itself by only washing what is needed rather than dunking the whole thing in seems more logical. They did it with men's wear, why not women's?

7. After staring for hours at various period portraits, I basically came down to the decision to use Punto in Aria for the cuffs and ruff edging, and Netting in a lozenge pattern for the partlet. The netting for the ruff should be lozenge as well, but I am not *that* enthusiastic to make that kind of yardage just yet. Perhaps I will cut my yardage on the _bias_ to make it appear to be lozenge, although I am not certain how netted lacis will tolerate being cut like that. (I have only taught myself punto and getting around to teaching myself netting in the past week) Does anyone concur with these decisions, or have alternate suggestions? Any decent period lacis/buratto patterns out there that would work for the ruff and partlet?

8. Finally, and I'll make this short since I am noticing my rambling verbosity getting out of hand again ;-) The cuffs - attached to the camicia and turned back over the bodice cuff, or pinned independently to the cuff like a suit of ruffs?

I think that's enough for now. ;-) Hope I haven't dove too far into the deep end. :-)

Thanks for any help anyone can supply.

Kathy


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Skylights! I believe someone already mentioned those---and I dearly want them as well--but for now---I have 4 sets of spotlights in the 4 corners of my studio/workroom, shining in toward the center over each of the work areas. I use those funny swirl-looking 'energy efficient' bulbs---so I can get quite a bit of light with a lot less energy being used than formerly.(8---100 watt bulbs , used continuously most evenings and part of most days, really adds up on the electrical bill!) Over the jewelry area, I also have smaller high intensity lamp for the really fine close up stuff. I'm afraid that ,lately,my old eyes are needing LOTS of light--even in the daytime:( 
Albra 

Diana Habra <dch@inreach.com> wrote:
Hey everyone!

I was hoping to pick your brains on a problem I am having. Namely not
having enough light in my sewing room! I have gone searching for bright
lamps and cannot seem to find any. All of the halogen lamps are only 300
watts and not very bright and nobody seems to make a lamp that throws
enough light to sew by.

So what do you have in the way of lighting in your sewing area? Do you
have any recommendations as to where I can find brighter lighting?

Thanks in advance!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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Subject: Re: [h-cost] FW: Estrella War Class Reminder
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I'm planning on being at Estrella---and I could offer gold bullion embroidery or metal thread basket weave couching classes.Contact  me offlist for more info!
Albra

"Saragrace T. Knauf" <saragrace@earthlink.net> wrote:
Hi folks, if anyone is going to Estrella and wants to teach I know the
organizer is still trying to fill out her schedule. I will be teaching my
Puff & Slash, Gollar, and Shoulder Roll classes again if anyone is
interested.



Sg (Sorry for the Cross posts)


Subject: Estrella War Class Reminder



Greetings to all the fabulous people who taught at Estrella War 2003



If you would like to teach again and have not already scheduled a class with
me please email me today with your class information. I am especially
lacking in Middle Eastern dance classes and brewing classes (and cooking
classes). I would also love a silk banner painting class. If you know of
anyone who might be willing to teach please have them contact me
immediately. (or send me their contact information) The gate book is going
to the printers this week and I really need your help to fill out the class
schedule!



Thanks- 



Maestra Camilla

A&S Class Autocrat

Estrella War 2004

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Kathy Page wrote:

>Hi everyone,
> 
>I've been lurking for quite some time now, getting the general grip of things. I am a former Confed/Civil War/Vic/Ed seamstress, turned Med/Ren in the past year and a half. I've done some work for small regional museums, did two historical fashion shows and reenactors, aside from my own costuming. 
>Right now I am working on a scad of things- one in particular is a late period Venetian. I have a current theory about the ruff that occasionally appears in art. Two examples of these would be: http://au.geocities.com/bella_lucia_da_verona/VeronicaFrancoTerzaRimaC1576.jpg
>http://au.geocities.com/bella_lucia_da_verona/venetiandebutante.jpg
>
>
>  
>
I am not sure how relevent it is to your inquiry about the ruffs  but 
keep in mind Veronica Franco was a Courtesan.  She was born in 1546, 
died 1591.   A somewhat romantic movie about her life  called Dangerous 
Beauty is worth watching. I personally can not locate the pictures or 
the artist you have found.  It is reasonable to think these were 
sketched at a later date.  Considering Venice had a wide range of 
merchants and imports  it would not be farfetched to see french 
influence on clothing.  I am not sure of the ruffs time frame. I think 
it was late 1580's when QE1 used them.

What I know will fit in a thimble.  I have many thimbles half full.
Di

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>Hi folks, if anyone is going to Estrella and wants to teach I know the
>organizer is still trying to fill out her schedule.  I will be teaching my
>Puff & Slash, Gollar, and Shoulder Roll classes again if anyone is
>interested.

Where? When?


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

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>lending support to the opinion that there is NO corseting going on. Any 
>opinions one way or the other on this?

I weigh as much as she does - there has to be something like corseting 
going on, even if it's just a stiffened dress bodice lining.  Also, as I 
recall,  wasn't Elonora of Toledo found to have been buried in an actual 
corset?  OK, not Venetian but close.

>making them more versatile and easier to wash.

I don't think they could/did wash these garments, one piece or two.  I 
thought that's why they had body linen, chemises, shirts, etc., which could 
be washed.  Using this assumption, I never wash my Ren. Faire court 
dresses, and they don't stink like they needed to be washed.

>8. Finally, and I'll make this short since I am noticing my rambling 
>verbosity getting out of hand again ;-) The cuffs - attached to the 
>camicia and turned back over the bodice cuff, or pinned independently to 
>the cuff like a suit of ruffs?

Hard to tell.  Some period shirts have enough lace at the cuffs that this 
would not be necessary, and some have about none.

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

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: <thefrazzledfrau@yahoogroups.com>, <GermanRenCostume@yahoogroups.com>,
   "H-Costume@Indra. Com" <h-costume@indra.com>
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Cc: "'Nola Yergen-Jennings'" <LadyCamilla@cox.net>
Subject: [h-cost] RE: Estrella War Class Reminder-contact information
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Sorry, forgot the contact information:

 

Mistress Camilla of Hazelwood
Nola Yergen-Jennings
ladycamilla@staghold.org
<mailto:ladycamilla@staghold.org?subject=Estrella%20War%20XX>  

 

-----Original Message-----
From: Saragrace T. Knauf [mailto:saragrace@earthlink.net] 

Subject: FW: Estrella War Class Reminder

 

Hi folks, if anyone is going to Estrella and wants to teach I know the
organizer is still trying to fill out her schedule.  I will be teaching my
Puff & Slash, Gollar, and Shoulder Roll classes again if anyone is
interested.

 

Sg  (Sorry for the Cross posts)





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From h-costume-bounces@indra.com  Mon Dec 29 13:42:57 2003
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Subject: [h-cost] Re: what I got for Christmas...
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Hi
Well they are not here yet, but I got a Warren Featherboning 
attachment to fit my Singer (have one that fits a Domestic machine 
that I don't have...) AND an instruction book AND a figural trade 
card!
Now to see iffn I can find any samples of Featherboning....
And yes it's waaay to late for the times I currently do, but hey 
what's another time, and it will fit in nicely with the early whippet 
racing gear, somehow (OK so I can justify almost anything<G>)
And non-costume related gifts, some Puzz 3-D LOTR puzzles and some 
emerald glass...and this *stupid* cold...
Ta
Carol, cough, hack, dismal honk...
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From h-costume-bounces@indra.com  Mon Dec 29 13:58:32 2003
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Do you know what the schedule for the German costume classes you mentioned will be?  The class schedule on the Estrella War website hasn't been updated since September.   I would really like to go to them.  
 
Giovanna


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From h-costume-bounces@indra.com  Mon Dec 29 14:23:24 2003
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Sometimes, when pulling an "all nighter" and my eyes have reached their limit and I just can't see
to thread the needle, in desperation I have actually removed the needle, threaded it and then put
it back in. Awkward yes, but it works!
(And it's sometimes faster than fiddling around with it in place)

::Linda::

 You can't always judge by appearances: 
the early bird may have been up all night.

-----Original Message-----
 On Behalf Of Penny Ladnier

While we are on sewing... since I changed to bifocals a few years ago, it is
the dickens to thread my sewing machine needles.  Any suggestions on what
has worked for you?  I used the old silver needle threaders for hand sewing
needles and that works.  But the light from the sewing machine reflects in
my glasses and makes it even harder to thread the needle.  For the past few
years I have been having my kids thread my sewing machine needle.  Any
suggestions other than having someone else do it?

Penny Ladnier


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From h-costume-bounces@indra.com  Mon Dec 29 14:30:57 2003
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From: Angela Kessler <ivyharpdotcom@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] looking for a pattern
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My DH would like a jacket of a style we've seen often
in Hollywood, but not positive whether it's
historical.  I think it was popular sometime around
1790-1810, and it's the fashion with the really high
fall collar on the jacket, waistcoat, and I'm not sure
how many layers.  It looks like this may be it in item
#WN 212:
http://www.patternsoftime.com/pdf/2003/2003regency.pdf

but it's hard to tell since the detail's not real good
in that picture.  Also, I wasn't thinking the front
was cutaway like that.

Does anyone know anything about this pattern? 
Patterns of Time in general?  Other printed patterns
for this style?  Or a book that would at least have
good historical pictures showing detail of this style?

Thanks-
Angela

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From h-costume-bounces@indra.com  Mon Dec 29 14:42:43 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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I dont have much time now, will come to you later, but this print you have
send the urls of, is not a ruff.
This is a standing collar, wich was wired in the edge. It did not have any
supportasse or underpropper, it is supposed to stand by itself.
Come to you later

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Lighting woes for my sewing room
Date: Mon, 29 Dec 2003 14:46:09 -0500
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Hi all,

I would seriously caution against using high-powered halogen lamps in a sewing area. The surface of
the fixture gets extremely hot (think surface of the sun)  and with the fiber dust associated with
textiles, it _could_ lead to a serious fire problem.  Also, besides the heat buildup in your
workspace, halogen bulbs gobble up kilowatts like there's no tomorrow. If you think regular
incandescent bulbs are expensive to run, take a look at you bill after having several halogens
going for any length of time. If you must have floor lamps, look for ones that use a florescent
bulb instead. In our house I have replaced all the standard bulbs with compact florescent bulbs and
I have noticed such an improvement in the quality of light all over the house. Our bill has gone
down a bit too.

My best recommendation is to install 1x4 or 2x4 florescent fixtures evenly throughout the room.
Then, go to an electrical supplier or lighting store and explain what you are doing. They should be
able to sell you some tubes that will simply amaze you. *Sometimes* you can find good lamps at the
Big Box Home Store, but it's not always a given. The thing to look for is the number written on the
end of the tube. It should say 3500 or higher, the higher the better. This number relates to what
we know as "warm white" or "cool white" or "daylight" etc. Stay away from cool white, it has the
most glare and headaches. They also tend to flicker more than the better bulbs, which I find really
irritating when I'm trying to concentrate.  If all you have is these three choices, go with the
"daylight".

Buying good bulbs can be expensive, but if this is for an area that you spend a lot of time in, it
is so worth the investment. Cheap florescent lamps can actually cause health problems such as
headache and eye strain, and if you don't feel good then you won't enjoy your work/hobby, right?

HTH,
::Linda:: 
Electrician in a former life :o>

 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of Kimiko Small
Sent: Monday, December 29, 2003 3:33 AM
To: Historical Costume
Subject: Re: [h-cost] Lighting woes for my sewing room

Hi Diana,

Just how bright are you looking for?

In my sewing room, I have a ceiling fan with 3-65 watt Halogen bulbs in it 
(gotta have the ceiling fan as this room gets very hot in the summer, AC 
notwithstanding). I also have a task Ott light (color corrected florescent) 
that provides spot lighting for my sewing area or wherever I need. I then 
have three small low-watt halogen counter lights that are enough for my 
pattern drafting and other work over my storage cabinets (converted kitchen 
counters).

This really works well enough for me, even late at night. So why the mega 
watt lighting needs? What would you use them for? What do you mean the 300 
watt halogens aren't bright enough? I am really scratching my head on this, 
because the task lights I have are lower watts, but I still do great by them.

Otherwise, the only other suggestion I have is to get several halogen work 
lamps from Home Depot or Lowes or other home lumber store, and place them 
around the room. The one I am looking at online (Regent Twin Stand Work 
Light with Tripod) has two 500 watt T-3 double-ended halogen bulbs. My dad 
used them for his house/carpentry needs, and boy they light up a room.

Good luck!

Kimiko



At 07:01 PM 12/28/2003 -0800, you wrote:
>Hey everyone!
>
>I was hoping to pick your brains on a problem I am having.  Namely not
>having enough light in my sewing room!  I have gone searching for bright
>lamps and cannot seem to find any.  All of the halogen lamps are only 300
>watts and not very bright and nobody seems to make a lamp that throws
>enough light to sew by.
>
>So what do you have in the way of lighting in your sewing area?  Do you
>have any recommendations as to where I can find brighter lighting?
>
>Thanks in advance!
>
>--
>Diana Habra
>www.renaissancefabrics.net
>"Everything for the Costumer"





Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 

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From h-costume-bounces@indra.com  Mon Dec 29 14:46:59 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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I am so happy because i got (from myself) Silk designs of the eighteenth
century by Nathalie Rothstein. Not the skinny little one from V&A but the
complete catalog. Huge huge book with lots and lots of beautifull brocade
designs.
:-o ;-) :-o ;-)
Its my birthday soon, and i have told my partner that i want a membership of
the Embroiderers Guild in England for pressent.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: RE: [h-cost] what i got for christmass.
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Just from what you have shown us on the website I think they might end
up  paying you to teach...!! Good luck in the new year!
Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: Monday, December 29, 2003 1:46 PM
To: h-costume@indra.com
Subject: [h-cost] what i got for christmass.

I am so happy because i got (from myself) Silk designs of the eighteenth
century by Nathalie Rothstein. Not the skinny little one from V&A but
the
complete catalog. Huge huge book with lots and lots of beautifull
brocade
designs.
:-o ;-) :-o ;-)
Its my birthday soon, and i have told my partner that i want a
membership of
the Embroiderers Guild in England for pressent.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Re: what I got for Christmas...
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>Well they are not here yet, but I got a Warren Featherboning attachment to 
>fit my Singer (have one that fits a Domestic machine that I don't have...) 
>AND an instruction book AND a figural trade card!
>Now to see iffn I can find any samples of Featherboning....

I have some Featherboning.  At least the words printed on the side claim 
it's Featherboning, and the cross-section looks like the cut ends of two 
quills.  How long a sample were you thinking of?  You could have a few 
inches no problem, but the whole piece, at a few feet long, would have to 
be traded for...


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

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Subject: [h-cost] Captain Hook's coat
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What 18th century decade(s) does Captain Hook's coat, from the recent Peter 
Pan film, most look like it's from?  I'd guess early to middle 
1700s.  Bjarne - you'd know.  If you haven't seen the film, you can go to 
www.IMDb.com and search for Peter Pan and follow the links to the photo 
section from that film.

I've decided that I need one of these coats, done up a little more fantasy 
than realistic.  In the film version there are metal bits sewn on both 
Captain Hook's coats where months of embroidery should go.  I may opt for 
gold-painted lace which I first dyed brass-tarnish green.  I hope mine ends 
up looking like a Victorian theatre costume.

The rest of the film is costumed as c.1900.  The schoolteacher's dress is 
the best.

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

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isn't that Winego's pattern? Patterns of Time is the carrier for a number of
pattern companies. I want to say they also have their own line but I'm
pretty sure WN is the abbreviation for Winnego which is a company that
specializes in this era. I don't do too much regency but that's not a
horrible example if that's what you are wondering.RH201 (rocking horse
farms) is also a good one but a lot of people don't care for the patterns
they make. http://www.gbacg.org/Patterns/ is a site that give a lot of
opinions on these patterns you might want to see if they have any listed.

B~
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb
Live Journal http://snipurl.com/3jcs
----- Original Message ----- 
> My DH would like a jacket of a style we've seen often
> in Hollywood, but not positive whether it's
> historical.  I think it was popular sometime around
> 1790-1810, and it's the fashion with the really high
> fall collar on the jacket, waistcoat, and I'm not sure
> how many layers.  It looks like this may be it in item
> #WN 212:
> http://www.patternsoftime.com/pdf/2003/2003regency.pdf
>
> but it's hard to tell since the detail's not real good
> in that picture.  Also, I wasn't thinking the front
> was cutaway like that.
>
> Does anyone know anything about this pattern?
> Patterns of Time in general?  Other printed patterns
> for this style?  Or a book that would at least have
> good historical pictures showing detail of this style?
>
> Thanks-
> Angela
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> 1. That these are not native ruff fashions, but French imports. I
> can't find a large enough repository of French portraiture yet to
> substantiate this. Does anyone have some suggestions to head me in the
> right direction?

While there are some similarities to the French clothes (the standing 
ruff, although it is of a different type than you usually see in 
French Clothing), the cut of the garments is very definitely Italian. 
See _Vecellio's Renaissance Costume Book_, put out by Dover books for 
some engravings done at the time when Veronica Franco lived. The 
pictures he's done from Italy in the late 16th C are the most 
accurate. The further from home in time/space he gets, the more 
"fanciful" the clothing becomes. 

Also, you can find a book called _The Honest Courtesan_ by Margaret 
F. Rosenthal which is about Signorina Franco and her writings.
 
> 2. That these engravings are misdated. Does anyone have any
> information on the artist Giacomo Franco and the original sources for
> the engravings listed above? I would like to find out more about when
> and where this art was created. 

He doesn't show up in Artcyclopedia under that name, unfortunately. 
The book on Veronica Franco doesn't mention anyone named Giacomo 
Franco.
 
> 3. I suspect that the artist took creative license in making the
> partlet particularly noticeable, along with the weave pattern of the
> ruff. It is possible too, that the decorative material was a different
> colour, giving the artist reason to make them prominent. I frankly
> doubt the latter statement, but won't discount it as a possibility. Is
> there anyone out there that has an opinion either way?

The partlet was probably white but the weave was often times very 
ornate and could be embroidered as well, which would give it more 
texture. I suspect that the engraver was trying to capture a texture 
rather than a different color. The partlets of this type tend to be 
white, not colored.

> 4. The ruff, IMHO has a supportasse. It sits at a rather curious angle
> to be self-supporting, much less taking into account the pervasive
> moisture of Venice, I can't see starch being the sole support of this
> variation of ruff.  If so, how would that supportasse be made, and
> attached to the partlet?

There are several types of supportasses in this period. Some were of 
wire and were separate from the ruff and partlet. They were designed 
to fit under the clothes and sometimes to lace to the clothes 
themselves (not with "lace" but with lacings.) Some were silk covered 
pasteboard (such as the ones in the V&A in London.) Those would 
usually be laced to the dress in the back.
 
> 5. I have had an enthusiastic debate time and again on this theory, so
> I'll throw it out here and see what comes of it. I feel that there was
> some kind of corseting involved in this period. I am thinking more of
> a corselet, utilising tension in the camicia to supply support to the
> bust along with a rather firmly attached partlet (to what, I have yet
> to conceive that notion)giving the inward push to create that full,
> rounded decolletage, and the corset holding the camicia in place while
> smoothing out the rolls that would exist on the typical rubenesque
> noble Venetian. I also believe that there was some brand of shoulder
> strap, to help distribute the weight of the costume evenly. 
> Recognizing that this particular style of peascod bodice will be
> padded and will muffle some of the undulating rolls that naturally
> occur has also crossed my mind, lending support to the opinion that
> there is NO corseting going on. Any opinions one way or the other on
> this?

While there is evidence for corseting earlier in the period (such as 
the Spanish influenced Milanese clothing, like that worn by Eleanor 
of Toledo), the Venetians supposedly did not use corsetting. However, 
the bodies (especially of courtesans such as Signorina Franco) were 
supposed to be quite large/hefty/zaftig which was considered 
"voluptuous." So the women were often times wrapped in layers of 
padding to make the body more "voluptuous". This contributed to the 
odd shape that the dresses in Italy (compared to the rest of Europe) 
of the time had.

As to a shoulderstrap, I suspect it is there but hidden by the floofy 
stuff. In the one where there is more dress seen, you can see what 
looks like part of the shoulderseam on the L side disappearing down 
under the L sleeve, then appearing again with the same "trim" to go 
around the front of the decolletage.

> 6. This one is likely a bit of a dopey idea, but I'll ask it anyhow. I
> have no first hand contact with extant garments of the period, so I am
> relying on those that have, or have it on good authority. Is it
> possible that some of these dresses could have been two piece, and not
> one? It just seems to make more sense to hook-and-eye or point-tie the
> bodice and skirt together, making them more versatile and easier to
> wash. Everyone here has had experience wrangling massive amounts of
> fabric while washing, I can't imagine having to do it historically.
> Helping to preserve the textile and needlework itself by only washing
> what is needed rather than dunking the whole thing in seems more
> logical. They did it with men's wear, why not women's?

Dresses were not generally "washed" as we would think of it. The 
undergarments were used to keep the outer dress clean and smell free. 
Those undergarments were then taken down to the river to be washed. 
(We know this from descriptions of the time as well as artwork from 
the time.) The dresses themselves would be spot cleaned as needed, 
often using fuller's earth as a "dry cleaning" material. It would 
soak up oils which had gotten on the dress and then would be brushed 
away. Any residual "odor" was either ignored or would come out while 
the dress was "aired."

While it is possible that the bodice and skirt were separate, from 
looking at the inventories of the time and from the few extant 
dresses we have (see Janet Arnold's _Patterns of Fashion 1560-1620_ 
for example), in the late 16th C they were generally sewn together as 
one piece. (There is some evidence for separate bodice and skirts, 
such as in the facsimile with translation: _Alcega's 1589 Tailor's 
Pattern Book_ and occasional references in inventories. But the 
"dress" seems to be more common.)

> 7. After staring for hours at various period portraits, I basically
> came down to the decision to use Punto in Aria for the cuffs and ruff
> edging, and Netting in a lozenge pattern for the partlet. The netting
> for the ruff should be lozenge as well, but I am not *that*
> enthusiastic to make that kind of yardage just yet. 

The lace from the period tends to be needle lace (reticella and punto 
in Aria) but it could be combined with bobbin lace and/or cutwork in 
the same piece. Lots of beautiful examples, both in pattern books and 
extant, most of which seem to be Italian. See Margaret Abegg's 
_Apropos Patterns_, Anne Kraatz _Lace History and Fashion_, Janine 
Montupet and Ghilsaine Schoeller's _Lace The Elegant Web_, and 
Santina Levey's _Lace A History_.

Netting is seen in partlets but usually not filled in like you see 
with fillet lace (which it sounds like you are learning). And they 
tended to be of larger thread (large enough so that you can see the 
knots in the gold thread.) Most of the fillet lace type of netting 
seems to be more for home decoration.

> 8. Finally, and I'll make this short since I am noticing my rambling
> verbosity getting out of hand again ;-) The cuffs - attached to the
> camicia and turned back over the bodice cuff, or pinned independently
> to the cuff like a suit of ruffs?

Could be either. I suspect that more elaborate lace was used as 
"suits of wrist ruffs" rather than permanently attached.
 
> I think that's enough for now. ;-) Hope I haven't dove too far into
> the deep end. :-)

Sounds like you are going just as deep as many of us on this list 
tend to do. You'll probably get several different opinions on things 
unless people are too busy with their "non-list" lives.

Hopefully this has helped. ;)

Kat
<kat@redtrollforge.com>


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What 18th century decade(s) does Captain Hook's coat, from the recent Peter 
Pan film, most look like it's from?  I'd guess early to middle 
1700s.  Bjarne - you'd know.  If you haven't seen the film, you can go to 
www.IMDb.com and search for Peter Pan and follow the links to the photo 
section from that film.

I've decided that I need one of these coats, done up a little more fantasy 
than realistic.  In the film version there are metal bits sewn on both 
Captain Hook's coats where months of embroidery should go.  I may opt for 
gold-painted lace which I first dyed brass-tarnish green.  I hope mine ends 
up looking like a Victorian theatre costume.

The rest of the film is costumed as c.1900.  The schoolteacher's dress is 
the best.

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

              //// \\\
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> I would seriously caution against using high-powered halogen lamps in
> a sewing area. The surface of the fixture gets extremely hot (think
> surface of the sun)  and with the fiber dust associated with textiles,
> it _could_ lead to a serious fire problem.  Also, besides the heat
> buildup in your workspace, halogen bulbs gobble up kilowatts like
> there's no tomorrow. If you think regular incandescent bulbs are
> expensive to run, take a look at you bill after having several
> halogens going for any length of time. 

I agree with this. This past year there have been several "drives" to 
get people to stop using halogens by having (at the "drive") 
replacement bulbs and fixtures to trade for the halogens. Energy 
usage and fire danger are two reasons for them being dangerous. It's 
too bad that they are so good about putting out light. None of the 
"replacements" come close to that intensity of light.

If you must have floor lamps,
> look for ones that use a florescent bulb instead. In our house I have
> replaced all the standard bulbs with compact florescent bulbs and I
> have noticed such an improvement in the quality of light all over the
> house. Our bill has gone down a bit too.

Compact florescents (especially if you can get the "full spectrum" 
ones) seem to work pretty well.

> My best recommendation is to install 1x4 or 2x4 florescent fixtures
> evenly throughout the room. 

That's what I had put into my sewing room, with a swing arm lamp (the 
ones which are usually quite inexpensive and use regular or compact 
fluorescent bulbs) behind me over my shoulder when I'm doing 
something that needs more concentrated light (like fine embroidery or 
trying to determine what the weave structure of a piece of fabric 
is.)

>  Stay away from cool white, it has the most glare and headaches.
> They also tend to flicker more than the better bulbs, which I find
> really irritating when I'm trying to concentrate.  If all you have is
> these three choices, go with the "daylight".

If you can find it, full spectrum is the best. (It can also help with 
Seasonal Affective Disorder in the winter.)

> Buying good bulbs can be expensive, but if this is for an area that
> you spend a lot of time in, it is so worth the investment. Cheap
> florescent lamps can actually cause health problems such as headache
> and eye strain, and if you don't feel good then you won't enjoy your
> work/hobby, right?

I've lived in this house for more than 10 years. We've needed to 
replace my overhead fluorescents only twice in that length of time. 
And I leave the lights on constantly. (Fluorescents use the most 
energy when they are first turned on to start them up. After that, 
they barely draw anything. For this reason, some experts have said 
that if you are not going to leave the light off for at least 8 
hours, you might as well leave them on all the time.)

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Re: scissors
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Carol wrote:

> Scissors are thought to get duller faster if you use them to cut paper (I 
>don't know if this is true or not).  

I've been wondering about this for a while. I know that it's often claimed that paper dulls good scissors, but has anyone ever run across any hard evidence one way or the other? Or is this an Urban Sewing Legend? <g>

>More importantly, paper scissors are often 
>not cared for very well, and as "lesser" scissors might be used to cut a thin 
>bit of wire, they might hit a staple, etc.  This causes nicks in the blade 
>that, when cutting fabric, will skip cutting a thread.  When cutting a thin 
>silk, it's REALLY maddening!  But scissors with nicks in the blades will still 
>cut most paper just fine.  

Now THOSE are really _good_ points.

I remember hearing once (again, this may just be a legend :) that someone took a survey on the question: "What's the one thing you remember your mother always saying?" Some incredibly high percentage (like 70%?) of people answered with "Not my good sewing scissors!" 

(As usual, I had to be different: it's "Brush your hair, dear.")

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0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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From h-costume-bounces@indra.com  Mon Dec 29 15:56:00 2003
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Subject: [h-cost] more ebay sales
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Here are some of the items I have listed on ebay that are costume/historical 
related.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2975240678&category=19255&r
d=1

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2975244834&category=19255&r
d=1

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2975249432&category=19255&r
d=1

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2975257047&category=19255&r
d=1

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2975257047&category=19255&r
d=1

I also have a few non-period related items up for sale.  Also, I'll be 
listing some vintage jewelry from the 1920-1940 over the next few weeks, and a 
couple of period books as well.

Laura
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Subject: Re: [h-cost] Margot Andersons Elizabethan lady pattern?
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In a message dated 12/29/2003 12:49:02 PM Pacific Standard Time, 
ivycircle@yahoo.com writes:
Has anyone heard of a sale date for the second edition? Since hearing great 
things about the pattern I have been waiting a few months but still no update 
on the website. 



Hey, Margot?  What about it?  Inquiring minds want to know.....(me included!)

Laura
www.guildofstaugustine.org
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In a message dated 12/29/2003 2:29:35 PM Eastern Standard Time, 
ivyharpdotcom@yahoo.com writes:
Or a book that would at least have
good historical pictures showing detail of this style?
Unfortunately, the definitive book on menswear of this period has yet to be 
written.  Even Waugh's "Cut of Men's Clothes" gives this period short shrift.  
Hard to tell from the pattern illustration, but it looks like it lacks the 
other characteristic of coats of this period, which is the "M" notch lapel.  I 
used the 1805 quarter scale pattern in Hill and Bucknell's "Patterns of Fashion" 
as my base to make my own pattern for my husband.  The fit isn't perfect, but 
the appearance is pretty good.  These coats were generally not worn buttoned, 
so you have a little leeway.

Best source is to look at portraits, especially Ingres's drawings and 
paintings.  There was a great catalogue published a few years ago to accompany the 
Ingres exhibit, and his drawings show great details.

Ann Wass
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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2. That these engravings are misdated. Does anyone have any information on
the artist Giacomo Franco and the original sources for the engravings listed
above? I would like to find out more about when and where this art was
created.


Not knowing the artist, but it is towards 1600 (my guess)



3. I suspect that the artist took creative license in making the partlet
particularly noticeable, along with the weave pattern of the ruff. It is
possible too, that the decorative material was a different colour, giving
the artist reason to make them prominent. I frankly doubt the latter

statement, but won't discount it as a possibility. Is there anyone out there
that has an opinion either way?


My guess would be that it could be embroidered pattern, and maybe also
beaded pattern. I dont think it would have ben other colours than white,
like the pointed lace wich goes in the edge of the standing collar. The lace
also has spangels attached in the points, these could be silver or gold. It
was much used to add spangels into lace. It was worked into the lace, while
making the lace.


4. The ruff, IMHO has a supportasse. It sits at a rather curious angle to be
self-supporting, much less taking into account the pervasive moisture of
Venice, I can't see starch being the sole support of this variation of ruff.
If so, how would that supportasse be made, and attached to the partlet?


As i told you earlyer, this is a wired collar. There is wire sewed all along
the edge where the lace is attached.
It would have ben starched as well, so that it gets as stiff as possible, to
stand alone.




5. I have had an enthusiastic debate time and again on this theory, so I'll
throw it out here and see what comes of it. I feel that there was some kind
of corseting involved in this period. I am thinking more of a corselet,
utilising tension in the camicia to supply support to the bust along with a
rather firmly attached partlet (to what, I have yet to conceive that
notion)giving the inward push to create that full, rounded decolletage, and
the corset holding the camicia in place while smoothing out the rolls that
would exist on the typical rubenesque noble Venetian. I also believe that
there was some brand of shoulder strap, to help distribute the weight of the
costume evenly.  Recognizing that this particular style of peascod bodice
will be padded and will muffle some of the undulating rolls that naturally
occur has also crossed my mind, lending support to the opinion that there is
NO corseting going on. Any opinions one way or the other on this?



Corset there is, definately!



6. This one is likely a bit of a dopey idea, but I'll ask it anyhow. I have
no first hand contact with extant garments of the period, so I am relying on
those that have, or have it on good authority. Is it possible that some of
these dresses could have been two piece, and not one? It just seems to make
more sense to hook-and-eye or point-tie the bodice and skirt together,
making them more versatile and easier to wash. Everyone here has had
experience wrangling massive amounts of fabric while washing, I can't
imagine having to do it historically. Helping to preserve the textile and
needlework itself by only washing what is needed rather than dunking the
whole thing in seems more logical. They did it with men's wear, why not
women's?



I am no expert for this period, but i would say yes, it would be parted in
bodice and skirt.




7. After staring for hours at various period portraits, I basically came
down to the decision to use Punto in Aria for the cuffs and ruff edging, and
Netting in a lozenge pattern for the partlet. The netting for the ruff
should be lozenge as well, but I am not *that* enthusiastic to make that
kind of yardage just yet. Perhaps I will cut my yardage on the _bias_ to
make it appear to be lozenge, although I am not certain how netted lacis
will tolerate being cut like that. (I have only taught myself punto and
getting around to teaching myself netting in the past week) Does anyone
concur with these decisions, or have alternate suggestions? Any decent
period lacis/buratto patterns out there that would work for the ruff and
partlet?



Do you mean that you would make the lace for yourself?
Bobbin lace?
I have a beautifull pointed renaissance pattern you could have, if you like!



8. Finally, and I'll make this short since I am noticing my rambling
verbosity getting out of hand again ;-) The cuffs - attached to the camicia
and turned back over the bodice cuff, or pinned independently to the cuff
like a suit of ruffs?


They would have ben pinned or perhaps sewed to the sleave, but only lightly
sewed, because they should frequently be washed and starched.



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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References: <4.3.1.2.20031229110453.05107620@mail.frys.com>
Subject: Re: [h-cost] Captain Hook's coat
Date: Mon, 29 Dec 2003 22:12:06 +0100
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Hi!

I think i have seen some scenes from this movie.
I would say that Captain Hooks outfit is turning of the century, late 17th
century early 1700.

Sounds like a lot of fun for you!

Good Luck!

And happy newyear

Bjarne

----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Monday, December 29, 2003 8:18 PM
Subject: [h-cost] Captain Hook's coat


> What 18th century decade(s) does Captain Hook's coat, from the recent
Peter
> Pan film, most look like it's from?  I'd guess early to middle
> 1700s.  Bjarne - you'd know.  If you haven't seen the film, you can go to
> www.IMDb.com and search for Peter Pan and follow the links to the photo
> section from that film.
>
> I've decided that I need one of these coats, done up a little more fantasy
> than realistic.  In the film version there are metal bits sewn on both
> Captain Hook's coats where months of embroidery should go.  I may opt for
> gold-painted lace which I first dyed brass-tarnish green.  I hope mine
ends
> up looking like a Victorian theatre costume.
>
> The rest of the film is costumed as c.1900.  The schoolteacher's dress is
> the best.
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
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From h-costume-bounces@indra.com  Mon Dec 29 16:18:52 2003
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Has anyone heard of a sale date for the second edition? Since hearing great things about the pattern I have been waiting a few months but still no update on the website. 
Thanks Again, Angelique


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Subject: Re: [h-cost] looking for a pattern
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Dear Angela.
Dont know of these particular patterns you refer to.
But there also is:
Norah Waughs The Cut of Mens Clothes, wich has very good pattern drafts. 
But you have to scale them up.

Bjarne


----- Original Message ----- 
From: "Angela Kessler" <ivyharpdotcom@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 29, 2003 8:27 PM
Subject: [h-cost] looking for a pattern


> My DH would like a jacket of a style we've seen often
> in Hollywood, but not positive whether it's
> historical.  I think it was popular sometime around
> 1790-1810, and it's the fashion with the really high
> fall collar on the jacket, waistcoat, and I'm not sure
> how many layers.  It looks like this may be it in item
> #WN 212:
> http://www.patternsoftime.com/pdf/2003/2003regency.pdf
> 
> but it's hard to tell since the detail's not real good
> in that picture.  Also, I wasn't thinking the front
> was cutaway like that.
> 
> Does anyone know anything about this pattern? 
> Patterns of Time in general?  Other printed patterns
> for this style?  Or a book that would at least have
> good historical pictures showing detail of this style?
> 
> Thanks-
> Angela
> 
> __________________________________
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From h-costume-bounces@indra.com  Mon Dec 29 16:28:55 2003
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Re: scissors
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Well, in my experience, it has NOT been an Urban Legend that scissors will dull if you use them to cut paper. When I was little I DID use my first pair of nice scissors for cutting paper(I was 10)--and sure enough, after a few times they did'nt slide thru the
the fabric as nicely as they had before. And ,of course, once my little  brother got ahold of them and used them to cut wire on one of his 'electrical experiements' , they were thoroughly ruined . We both got quite a lecture from my father(my mother was the sewer---I guess Dad had learned his lessons well:) 
Albra  

Chris Laning <claning@igc.org> wrote:
Carol wrote:

> Scissors are thought to get duller faster if you use them to cut paper (I 
>don't know if this is true or not). 

I've been wondering about this for a while. I know that it's often claimed that paper dulls good scissors, but has anyone ever run across any hard evidence one way or the other? Or is this an Urban Sewing Legend? 

>More importantly, paper scissors are often 
>not cared for very well, and as "lesser" scissors might be used to cut a thin 
>bit of wire, they might hit a staple, etc. This causes nicks in the blade 
>that, when cutting fabric, will skip cutting a thread. When cutting a thin 
>silk, it's REALLY maddening! But scissors with nicks in the blades will still 
>cut most paper just fine. 

Now THOSE are really _good_ points.

I remember hearing once (again, this may just be a legend :) that someone took a survey on the question: "What's the one thing you remember your mother always saying?" Some incredibly high percentage (like 70%?) of people answered with "Not my good sewing scissors!" 

(As usual, I had to be different: it's "Brush your hair, dear.")

____________________________________________________________
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| 
+ Davis, California
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>I think i have seen some scenes from this movie.
>I would say that Captain Hooks outfit is turning of the century, late 17th
>century early 1700.

That estimate goes with the wig and hat he wears.

>Sounds like a lot of fun for you!

My coat will not be anything like your fine court coats.  Mine will 
probably require that I prematurely age the garment before I ever wear 
it.  I think I know where I can get some faded velvet curtains I can use 
for the fabric.

>And happy newyear

Happy new year to you too.  May you never run out of silk thread in the 
middle of a flower.

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

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In a message dated 12/29/2003 1:37:49 PM Pacific Standard Time, 
kayta@frys.com writes:
My coat will not be anything like your fine court coats.  Mine will 
probably require that I prematurely age the garment before I ever wear 
it.  I think I know where I can get some faded velvet curtains I can use 
for the fabric.

I don't know about the rest of us, but MY curiosity is piqued!

Laura
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Subject: Re: [h-cost] ancient textiles book on ebay
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Well, thank you's to Katy and Joan for mentioning this on the List---it looks like I shall be the proud (broke) owner of this book---which I had actually been looking for for awhile.
So, while I may now be broke--I am very happy:)
Albra

Joan Jurancich <joanmj@surewest.net> wrote:
I bought the English edition of this book ("Ancient Danish Textiles from 
Bogs and Burials: A Comparative Study of Costume and Iron Age Textiles") 
shortly after it came out in 1980 (ISBN 87-480-0312-3). It's a wonderful 
book. I periodically re-read it just because it's fascinating. And I 
still want to try weaving on a warp-weighted loom.

I remember seeing the original Danish edition (from a library copy) and 
wanting it in English. So far the bid is up to $76 (US).



At 05:22 PM 12/22/2003 -0500, you wrote:

>There is a book I can across on ebay on "ancient danish textiles" The
>price it cheap, not a period I am interested in but thought some of you
>might be:
>
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=362&item=2583025807
>
>Katy
>
>Katy Bishop, Vintage Victorian
>vintage@shore.net www.VintageVictorian.com
> Custom reproduction gowns of the Victorian Era.
> Publisher of the Vintage Dress Series books.

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Subject: Re: [h-cost] looking for a pattern
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In a message dated 12/29/2003 4:18:56 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:
But there also is:
Norah Waughs The Cut of Mens Clothes, wich has very good pattern drafts. 
But you have to scale them up.
Alas!  The only pattern she has from this period is a greatcoat--great if you 
want a greatcoat (heh, heh) but not if you want a tailcoat.
Ann Wass
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Date: Mon, 29 Dec 2003 14:25:15 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] Lighting woes for my sewing room
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To clarify the halogen bulbs I am speaking of, they are new kind that are 
fully enclosed. Westinghouse Halogen Halomax, 60 watt soft white bulbs. 900 
lumens, 60 watts energy used, 3000 hours. I found them at Lowes, buy 2 get 
1 free package. I originally had put in florescent bulbs into the sockets 
to replace the original lamps, but the florescent were too yellow in 
coloring which put a ghastly shade of yellow over everything. While they 
are a little warmer in heat than the florescent bulbs, they don't give off 
as much heat as regular lamps do. I just put them in a few days ago, so I 
will let you know how much more energy they draw from the electrical bill 
later. But they are a nice white light.

With all the talk about color corrected florescent lamps, try this web 
site. http://www.fullspectrumsolutions.com/. They have industrial and home 
model florescent lamps, including types that look to be the same as Ott 
lights, but at a lower price. And they discount if you buy bulk. I used 
them for a photo company I worked for, that needs color corrected lamps all 
the time.

Someday if I can get the right electrical work, I will add in some more 
color corrected lamps over the sewing area, but because I need the ceiling 
fan in here, I had to go with the halogen bulbs for now. To be honest, my 
computer puts off more heat than the lamps are right now. But my Ott lamp 
is what I use most for close up work. And I don't use any floor lamps. I 
need what little floor space I have for moving around in.

And one other thing to help with lights, a white or light colored walls and 
ceiling paint. While I want to add color to my room, having white walls in 
here really does help with the light situation. And you can get bright 
white ceiling paint to help reflect more light around the room.

hth

Kimiko

Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 

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If someone is really interested in paying for this, as I am not as much as 
I want it. I hate having a budget sometimes.

Roy Strong TUDOR AND JACOBEAN PORTRAITS
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576551852&category=7703

Good luck!

Kimiko

Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
"When there is fear, there is no creativity" ~ C. Lowell

Costume Mistress for Isle of Mann Guild
Graphic Intern at Costume Gallery
http://www.costumegallery.com 

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Chris Laning wrote:

> I've been wondering about this for a while. I know that it's often
claimed that paper dulls good scissors, but has anyone ever run across
any hard evidence one way or the other? Or is this an Urban Sewing
Legend? <g>

Wood fibers are fairly rough, on the micro level.  That's why it's 
recommended to never wipe your glasses with paper towels, facial tissue, 
etc.  Also why facial tissue will scratch your nose over time, if you've 
got inflamed skin from a cold.

Hence the sale of special cleaning cloths for glasses (although an 
all-cotton towel works great) and cotton-fiber facial tissues (or paper 
ones loaded with lotion, to grease the way.)

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

And so, faced with shocking lack of documentation, I am forced to invent 
some of my own.  -- Cecil Adams
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Just got through the backlog from being gone and thought I'd throw in my few
cents...

As for Christmas, the only sewing related thing was the book "Fine Machine
Embroidery", which after reading through about half of it just looks like so
much fun! I also got a Barnes & Noble gift card, so we'll see what may be
gotten with that.

And for scissors and hubbies - well, mine was raised by a sewing mom, so he
came trained ;-) I've never had to tell him to stay away from my sewing
scissors!

**********************
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>, h-costume@indra.com
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Margot Andersons Elizabethan lady pattern?
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At 03:56 PM 12/29/2003 EST, MysticsLady9@aol.com wrote:
>In a message dated 12/29/2003 12:49:02 PM Pacific Standard Time, 
>ivycircle@yahoo.com writes:
>Has anyone heard of a sale date for the second edition? Since hearing great 
>things about the pattern I have been waiting a few months but still no
update 
>on the website. 

I'm sorry for the delay. We have experienced cash flow problems due to a
wholesale customer's having cancelled a large order, which was allocated to
pay for the reprinting. Not unreasonably, the printing company refused to
proceed until they were paid. We have managed to obtain funds from another
source and the patterns will be on their way soon. 

In the meantime, I have also completed the second edition/upgrade of the
Underpinnings and Accesories packages and we are having them printed as well.

Thanks for your patience, 

Margo Anderson 


"One Tough Costumer"

www.margospatterns.com
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From h-costume-bounces@indra.com  Mon Dec 29 20:39:38 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: scissors
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> 
> claimed that paper dulls good scissors, but has anyone ever run across
> any hard evidence one way or the other? Or is this an Urban Sewing
> Legend? <g>

I do notice the difference between sharp fabric scissors, and fabric 
scissors that get used to cut up nearly a ream of paper (ex roomie, 
grr!) and scissors that have been freshly sharpened.

So, no, it's not an urban legend.

> 
> Wood fibers are fairly rough, on the micro level.  That's why it's 
> recommended to never wipe your glasses with paper towels, facial tissue, 
> etc.  Also why facial tissue will scratch your nose over time, if you've 
> got inflamed skin from a cold.

Also why you don't want to use paper towels to wipe off the bed of your 
scanner, and get a pack of those special eyeglass wipes instead.



Dawn




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From h-costume-bounces@indra.com  Mon Dec 29 20:41:16 2003
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Subject: Re: [h-cost] Margot Andersons Elizabethan lady pattern?
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errghhh!  When things like this happen to me I can only think how much more
useful I'd be with my time and money if I were Paris Hilton!  Hang in
there!!!

Lisa Sinervo

----- Original Message -----
From: "Margo Anderson" <margo@margospatterns.com>
To: "Historical Costume" <h-costume@indra.com>; <h-costume@indra.com>
Sent: Monday, December 29, 2003 5:18 PM
Subject: Re: [h-cost] Margot Andersons Elizabethan lady pattern?


> At 03:56 PM 12/29/2003 EST, MysticsLady9@aol.com wrote:
> >In a message dated 12/29/2003 12:49:02 PM Pacific Standard Time,
> >ivycircle@yahoo.com writes:
> >Has anyone heard of a sale date for the second edition? Since hearing
great
> >things about the pattern I have been waiting a few months but still no
> update
> >on the website.
>
> I'm sorry for the delay. We have experienced cash flow problems due to a
> wholesale customer's having cancelled a large order, which was allocated
to
> pay for the reprinting. Not unreasonably, the printing company refused to
> proceed until they were paid. We have managed to obtain funds from another
> source and the patterns will be on their way soon.
>
> In the meantime, I have also completed the second edition/upgrade of the
> Underpinnings and Accesories packages and we are having them printed as
well.
>
> Thanks for your patience,
>
> Margo Anderson
>
>
> "One Tough Costumer"
>
> www.margospatterns.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From h-costume-bounces@indra.com  Mon Dec 29 21:24:23 2003
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Subject: Re: [h-cost] ebay book
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Thanks Kimiko for the heads up!  thinking, thinking.... I do need to go on a diet anyway. :)....  Just had a look and Barnes and Noble has the same book with a 1980 publishing date at $250.  I wonder if this book might have more color in it as the 1969 edition seems to be mostly black and white.  Or am I incorrect here?  I don't think I'll be bidding, but definetly will be ILLing this one!  Also had a look under Roy Strong on www.bookfinder.com and there are quite a few more books of interest there!

Lisa Sinervo - wishing I was Paris Hilton at the moment!
www.thrednedlestrete.com


----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: <h-costume@indra.com>
Sent: Monday, December 29, 2003 2:47 PM
Subject: [h-cost] ebay book


> If someone is really interested in paying for this, as I am not as much as 
> I want it. I hate having a budget sometimes.
> 
> Roy Strong TUDOR AND JACOBEAN PORTRAITS
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576551852&category=7703
> 
> Good luck!
> 
> Kimiko
> 
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> "When there is fear, there is no creativity" ~ C. Lowell
> 
> Costume Mistress for Isle of Mann Guild
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com 
> 
> _______________________________________________
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> 
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Subject: [h-cost] Cussin' Janet Arnold again...Women's loose gown
	sleeve-anyone else tried it?
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Has anyone else tried to reproduce the loose gown short sleeve on page 45 &
46 sucessfully?  I drafted, sewed it up-blech.  Then I just blew her pattern
up.same thing.  

 

What was she thinking?  Besides the obvious stuff like completely mismatched
pieces, the shape produced looks very little like the actual sleeve.  Every
time I think I will save some time using her patterns, I am disappointed. 

 

Does anyone know if she really sewed at all?

 

Sg

 

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From h-costume-bounces@indra.com  Mon Dec 29 22:05:03 2003
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Subject: RE: [h-cost] Cussin' Janet Arnold again...Women's loose
	gownsleeve-anyone else tried it?
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I did that one too, and didn't like the look of the sleeve either.  The
width simply didn't work.  Finally I rounded it more, and it came out
looking like the ones in Alcega.  Since he was making them at the time, I
suspect he is a better source.

Regina
>
> What was she thinking?  Besides the obvious stuff like completely
> mismatched
> pieces, the shape produced looks very little like the actual
> sleeve.  Every
> time I think I will save some time using her patterns, I am disappointed.
>
>
>
> Does anyone know if she really sewed at all?
>
>
>
> Sg
>
>


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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Cussin' Janet Arnold again...Women's
	loosegownsleeve-anyone else tried it?
Date: Mon, 29 Dec 2003 20:18:52 -0700
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I just took a quick look at Algacea and don't see anything like the sleeve
puff except maybe on 70a: Silk gown for a woman. Which one are you speaking
of.  

Also I am curious if the stylized loose gown Arnold shows on page 45
(Primariae mulieris...Belgas) sleeve is exaggerated.  The rest of the
drawing doesn't seem to be, so I am wondering if that sleeve cap is.  It'd
be fun to do....I think I like it better than the round cap... opinions?

And just what are those things that look like braids hanging on either side
of her head and round her neck....?



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From h-costume-bounces@indra.com  Mon Dec 29 22:29:11 2003
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I'm passing on book buying at the moment as I need a good washtub for my starch house re-creation (Yes, I'd still like to do a tailor's shop but that I'm going to have to grow into - I'm starting smaller).  Beaver buckets http://www.beaverbuckets.com/WashTubs.htm has a very nice oak washtub for $250 - yes I do need to diet!!! But I was wondering if anyone has ever used such a tub before.  Anyone know of any better prices?  I would like a nice quality one.  

Thanks,

Lisa Sinervo

costume content - the bucket will be used for washing dirty ruffs!
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Subject: Re: [h-cost] Cussin' Janet Arnold again...Women's loose
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According to Jean Hunnisett (who I had the pleasure of playing chauffeur
and general Friendly Native Guide for on her last visit to the States),
Janet Arnold was much more of researcher and theoretician than an actual
costumer. In many cases Janet would do research and come up with ideas
and then advise on designs that Jean would then make up.  Apparently part
of the reason they had a 'falling out' was over the theoretical versus
practical aspect of recreating costumes- each lady was very knowledgable
and opinionated and had her own ideas which occasionally clashed. Ah, to
be in Costumer's Heaven eavesdropping on their discussions now!


Karen

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From h-costume-bounces@indra.com  Mon Dec 29 22:41:14 2003
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Subject: RE: [h-cost] Anyone tried a beaver bucket?
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> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lisa Sinervo
> Sent: Monday, December 29, 2003 10:35 PM
> To: Historical Costume
> Subject: [h-cost] Anyone tried a beaver bucket?
>
>
> I'm passing on book buying at the moment as I need a good washtub
> for my starch house re-creation (Yes, I'd still like to do a
> tailor's shop but that I'm going to have to grow into - I'm
> starting smaller).  Beaver buckets
> http://www.beaverbuckets.com/WashTubs.htm has a very nice oak
> washtub for $250 - yes I do need to diet!!! But I was wondering
> if anyone has ever used such a tub before.  Anyone know of any
> better prices?  I would like a nice quality one.
>
> Thanks,
>
> Lisa Sinervo
>
> costume content - the bucket will be used for washing dirty ruffs!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

   I have used similiar tubs for doing dishes at work.  There are of course
certain maintenance issues with cooperage.  I have also seen some of the
beaver bucket stuff in person, though I have not used any personally.  Have
our own coopers at work.  The beaver stuff looks like it should work well.

    Costume content- I don't think I ever used any cooperage for washing
clothes, having rather boiled it in copper or iron kettles.  I have however
used a goffering iron to press 18th Century ruffles.

Cheers,
Ron

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Date: Mon, 29 Dec 2003 19:58:34 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Captain Hook's coat
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>My coat will not be anything like your fine court coats.  Mine will
>probably require that I prematurely age the garment before I ever wear
>it.  I think I know where I can get some faded velvet curtains I can use
>for the fabric.
>
>I don't know about the rest of us, but MY curiosity is piqued!

See the film.  My coat will be red if I can get a faded curtain in red, but 
I will be a scummy pirate where Bjarne will be a profusely embroidered 
courtier.  BTW, I have just finished reading the original story, and it 
says that Hook's coat is from the period of Charles II of England.  In the 
film it's a little later than that, I think, but not by much.


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

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> Hey everyone!
>
> I was hoping to pick your brains on a problem I am having.  Namely not
> having enough light in my sewing room!

Thanks for everyone's responses!  Part of my problem is that I have high
ceilings (10 foot) so by the time the torchiere goes up and comes back it
is not very bright.  Also I was silly and painted my sewing room a lovely
dusty rose color and I think that the color is making the light seem dull.

I am going to pursue either flourescent lights or some track lighting with
full spectrum bulbs.  I actually bought some full spectrum bulbs at Costco
a few days ago so if anyone has access and wants to check it out....they
were 3-way bulbs and in a 3-pack for arount $5-6.

Thanks again for the suggestions!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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From: "Penny Ladnier" <penny@costumegallery.com>
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References: <BFEHIMCIGHOOMKCFPMCEAEJMIBAA.megan@benchite.com>
Subject: Re: [h-cost] Re: scissors
Date: Mon, 29 Dec 2003 23:44:33 -0500
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Oh, Megan, that wasn't my website... it was just an image of them I found on
the web.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
----- Original Message ----- 
From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 29, 2003 11:41 AM
Subject: RE: [h-cost] Re: scissors


> Ah, I love the Fiskars as well.  I have used my 50% off coupons at Joann's
> chain stores to get those several times (one pair got "borrowed" and has a
> nick).  The price is often much better than Penny's website listed them
for,
> so shop around.  They also make a small pair of thread snips that I love
and
> keep right by the sewing machines.
> -Megan
>
>
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Subject: [h-cost] Re: lighting and vision
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I have a ceiling fan with 3 60-(or maybe 75) watt bulbs in the center of 
the room, and an old-fashioned floor lamp (vintage about 1960 or 70) in the 
corner between my sewing table and serging table, which would otherwise be 
unused space.  It has a 3-way bulb and 3 60-watt bulbs.  I can't put them 
all on at once, though, or it pops the circuit breakers.  I'm saving for 
one of the new Ott-lites I saw adv. recently with a brighter bulb and 
convertible from floor lamp to clamp-on.  I also have two windows near my 
tables, so on the rare occasion I get to sew in the daytime, I can open the 
shades and have lots of light.  Hubby's room only has a 4-light 60 watt 
ceiling fan - I can't see anything in his room.  He says he has plenty of 
light - but then he's the one with perfect vision, while I can't see even 
with bifocals - see below note to Penny.....

>From: "Diana Habra" <dch@inreach.com>
>Subject: [h-cost] Lighting woes for my sewing room
>
>I was hoping to pick your brains on a problem I am having.  Namely not
>having enough light in my sewing room!  I have gone searching for bright
>lamps and cannot seem to find any.  All of the halogen lamps are only 300
>watts and not very bright and nobody seems to make a lamp that throws
>enough light to sew by.
>
>So what do you have in the way of lighting in your sewing area?  Do you
>have any recommendations as to where I can find brighter lighting?
>
>Diana Habra

Penny,

I got myself (at Hobby Lobby) one of those craft magnifiers that work like 
the plastic sun-visors - they go on your forehead, and the lenses can be 
raised up or down as needed.  I can't even sew a basic seam without them, 
let alone thread needles.  They're about $25, come with an x1.5 and an x2.0 
magnifying lens, and you can get other ones that go up to about x6.0.  It 
works great, but after several hours, it takes a few minutes to adjust to 
not using them.  What I would like to get is a set of Jeweler's magnifiers 
with metal frames, that have the basic lenses, with extra ones that swing 
in and out to add magnifying powers.  They're kind of expensive, though.

HTH,

Sandy

>From: "Penny Ladnier" <penny@costumegallery.com>
>
>While we are on sewing... since I changed to bifocals a few years ago, it is
>the dickens to thread my sewing machine needles.  Any suggestions on what
>has worked for you?  I used the old silver needle threaders for hand sewing
>needles and that works.  But the light from the sewing machine reflects in
>my glasses and makes it even harder to thread the needle.  For the past few
>years I have been having my kids thread my sewing machine needle.  Any
>suggestions other than having someone else do it?
>
>Penny Ladnier

"Those Who Fail To Learn History
Are Doomed To Repeat It;
Those Who Fail To Learn History Correctly--
Why They Are Simply Doomed."

Achemdro'hm
"The Illusion of Historical Fact"
-- C.Y. 4971

Andromeda


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Subject: [h-cost] Bobbin lace patterns and sources
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  ----- Greetings Bjarne!
  Would it be possible for me to get a copy of the lace pattern you spoke of? I am trying to find just such patterns. I have a goal of making my own bobbin lace for a ruff and partlet for my court Elizabethan green velvet dress. Well that is a goal however long it takes to make the yardage.
  When you make your bobbin lace for ruffs how much yardage do you make? and for the cuffs?
  I continue to look for books with period patterns, but have had no luck. Do you have any suggestions on books available for the Elizabethan period? And perhaps do you have a source for the Nuw Modelbook, which is as I understand it period laces. I have Le Pompe, but don't find that all that helpful and really haven't found "pretty" (to me anyway) lace patterns I would spend making. The pattern you spoke of sounds just like what I want.
  Many Thanks for all you kind help
  Ysandra 



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

  Message: 8
  Date: Mon, 29 Dec 2003 22:18:14 +0100
  From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk<mailto:drewscph@post12.tele.dk>>
  Subject: Re: [h-cost] looking for a pattern
  To: "Historical Costume" <h-costume@indra.com<mailto:h-costume@indra.com>>
  Message-ID: <004001c3ce51$45a0ba20$4096fea9@CPQ21932199711<mailto:004001c3ce51$45a0ba20$4096fea9@CPQ21932199711>>
  Content-Type: text/plain; charset="iso-8859-1"

  Dear Angela.
  Dont know of these particular patterns you refer to.
  But there also is:
  Norah Waughs The Cut of Mens Clothes, wich has very good pattern drafts. 
  But you have to scale them up.

  Bjarne


  ----- Original Message ----- 
  From: "Angela Kessler" <ivyharpdotcom@yahoo.com<mailto:ivyharpdotcom@yahoo.com>>
  To: "Historical Costume" <h-costume@indra.com<mailto:h-costume@indra.com>>
  Sent: Monday, December 29, 2003 8:27 PM
  Subject: [h-cost] looking for a pattern


  > My DH would like a jacket of a style we've seen often
  > in Hollywood, but not positive whether it's
  > historical.  I think it was popular sometime around
  > 1790-1810, and it's the fashion with the really high
  > fall collar on the jacket, waistcoat, and I'm not sure
  > how many layers.  It looks like this may be it in item
  > #WN 212:
  > http://www.patternsoftime.com/pdf/2003/2003regency.pdf<http://www.patternsoftime.com/pdf/2003/2003regency.pdf>
  > 
  > but it's hard to tell since the detail's not real good
  > in that picture.  Also, I wasn't thinking the front
  > was cutaway like that.
  > 
  > Does anyone know anything about this pattern? 
  > Patterns of Time in general?  Other printed patterns
  > for this style?  Or a book that would at least have
  > good historical pictures showing detail of this style?
  > 
  > Thanks-
  > Angela
  > 
  > __________________________________
  > Do you Yahoo!?
  > New Yahoo! Photos - easier uploading and sharing.
  > http://photos.yahoo.com/<http://photos.yahoo.com/>
  > _______________________________________________
  > h-costume mailing list
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  ------------------------------

  Message: 9
  Date: Mon, 29 Dec 2003 13:27:16 -0800 (PST)
  From: KATHRYN WOLTERS <albrakat7@yahoo.com<mailto:albrakat7@yahoo.com>>
  Subject: Re: [h-cost] Re: scissors
  To: Historical Costume <h-costume@indra.com<mailto:h-costume@indra.com>>
  Message-ID: <20031229212716.85407.qmail@web9406.mail.yahoo.com<mailto:20031229212716.85407.qmail@web9406.mail.yahoo.com>>
  Content-Type: text/plain; charset=us-ascii

  Well, in my experience, it has NOT been an Urban Legend that scissors will dull if you use them to cut paper. When I was little I DID use my first pair of nice scissors for cutting paper(I was 10)--and sure enough, after a few times they did'nt slide thru the
  the fabric as nicely as they had before. And ,of course, once my little  brother got ahold of them and used them to cut wire on one of his 'electrical experiements' , they were thoroughly ruined . We both got quite a lecture from my father(my mother was the sewer---I guess Dad had learned his lessons well:) 
  Albra  

  Chris Laning <claning@igc.org<mailto:claning@igc.org>> wrote:
  Carol wrote:

  > Scissors are thought to get duller faster if you use them to cut paper (I 
  >don't know if this is true or not). 

  I've been wondering about this for a while. I know that it's often claimed that paper dulls good scissors, but has anyone ever run across any hard evidence one way or the other? Or is this an Urban Sewing Legend? 

  >More importantly, paper scissors are often 
  >not cared for very well, and as "lesser" scissors might be used to cut a thin 
  >bit of wire, they might hit a staple, etc. This causes nicks in the blade 
  >that, when cutting fabric, will skip cutting a thread. When cutting a thin 
  >silk, it's REALLY maddening! But scissors with nicks in the blades will still 
  >cut most paper just fine. 

  Now THOSE are really _good_ points.

  I remember hearing once (again, this may just be a legend :) that someone took a survey on the question: "What's the one thing you remember your mother always saying?" Some incredibly high percentage (like 70%?) of people answered with "Not my good sewing scissors!" 

  (As usual, I had to be different: it's "Brush your hair, dear.")

  ____________________________________________________________
  0 Chris Laning
  | 
  + Davis, California
  ____________________________________________________________
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  h-costume mailing list
  h-costume@mail.indra.com<mailto:h-costume@mail.indra.com>
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  ---------------------------------
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  ------------------------------

  Message: 10
  Date: Mon, 29 Dec 2003 13:35:29 -0800
  From: Carolyn Kayta Barrows <kayta@frys.com<mailto:kayta@frys.com>>
  Subject: Re: [h-cost] Captain Hook's coat
  To: Historical Costume <h-costume@indra.com<mailto:h-costume@indra.com>>
  Message-ID: <4.3.1.2.20031229132852.05848200@mail.frys.com<mailto:4.3.1.2.20031229132852.05848200@mail.frys.com>>
  Content-Type: text/plain; charset="us-ascii"; format=flowed


  >I think i have seen some scenes from this movie.
  >I would say that Captain Hooks outfit is turning of the century, late 17th
  >century early 1700.

  That estimate goes with the wig and hat he wears.

  >Sounds like a lot of fun for you!

  My coat will not be anything like your fine court coats.  Mine will 
  probably require that I prematurely age the garment before I ever wear 
  it.  I think I know where I can get some faded velvet curtains I can use 
  for the fabric.

  >And happy newyear

  Happy new year to you too.  May you never run out of silk thread in the 
  middle of a flower.

          CarolynKayta Barrows
  dollmaker, fibre artist, textillian
            www.FunStuft.com<http://www.funstuft.com/>

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



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

  Message: 11
  Date: Mon, 29 Dec 2003 16:38:57 EST
  From: MysticsLady9@aol.com<mailto:MysticsLady9@aol.com>
  Subject: Re: [h-cost] Captain Hook's coat
  To: h-costume@indra.com<mailto:h-costume@indra.com>
  Message-ID: <10e.2a9798d2.2d21f8f1@aol.com<mailto:10e.2a9798d2.2d21f8f1@aol.com>>
  Content-Type: text/plain; charset="US-ASCII"

  In a message dated 12/29/2003 1:37:49 PM Pacific Standard Time, 
  kayta@frys.com<mailto:kayta@frys.com> writes:
  My coat will not be anything like your fine court coats.  Mine will 
  probably require that I prematurely age the garment before I ever wear 
  it.  I think I know where I can get some faded velvet curtains I can use 
  for the fabric.

  I don't know about the rest of us, but MY curiosity is piqued!

  Laura


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

  Message: 12
  Date: Mon, 29 Dec 2003 14:01:42 -0800 (PST)
  From: KATHRYN WOLTERS <albrakat7@yahoo.com<mailto:albrakat7@yahoo.com>>
  Subject: Re: [h-cost] ancient textiles book on ebay
  To: Historical Costume <h-costume@indra.com<mailto:h-costume@indra.com>>
  Message-ID: <20031229220142.13440.qmail@web9407.mail.yahoo.com<mailto:20031229220142.13440.qmail@web9407.mail.yahoo.com>>
  Content-Type: text/plain; charset=us-ascii

  Well, thank you's to Katy and Joan for mentioning this on the List---it looks like I shall be the proud (broke) owner of this book---which I had actually been looking for for awhile.
  So, while I may now be broke--I am very happy:)
  Albra

  Joan Jurancich <joanmj@surewest.net<mailto:joanmj@surewest.net>> wrote:
  I bought the English edition of this book ("Ancient Danish Textiles from 
  Bogs and Burials: A Comparative Study of Costume and Iron Age Textiles") 
  shortly after it came out in 1980 (ISBN 87-480-0312-3). It's a wonderful 
  book. I periodically re-read it just because it's fascinating. And I 
  still want to try weaving on a warp-weighted loom.

  I remember seeing the original Danish edition (from a library copy) and 
  wanting it in English. So far the bid is up to $76 (US).



  At 05:22 PM 12/22/2003 -0500, you wrote:

  >There is a book I can across on ebay on "ancient danish textiles" The
  >price it cheap, not a period I am interested in but thought some of you
  >might be:
  >
  >http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=362&item=2583025807
  >
  >Katy
  >
  >Katy Bishop, Vintage Victorian
  >vintage@shore.net www.VintageVictorian.com<http://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<mailto:h-costume@mail.indra.com>
  http://mail.indra.com/mailman/listinfo/h-costume<http://mail.indra.com/mailman/listinfo/h-costume>

  ---------------------------------
  Do you Yahoo!?
  Yahoo! Photos - Get your photo on the big screen in Times Square

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

  Message: 13
  Date: Mon, 29 Dec 2003 17:09:07 EST
  From: AnnBWass@aol.com<mailto:AnnBWass@aol.com>
  Subject: Re: [h-cost] looking for a pattern
  To: h-costume@indra.com<mailto:h-costume@indra.com>
  Message-ID: <a4.413566a6.2d220003@aol.com<mailto:a4.413566a6.2d220003@aol.com>>
  Content-Type: text/plain; charset="US-ASCII"

  In a message dated 12/29/2003 4:18:56 PM Eastern Standard Time, 
  drewscph@post12.tele.dk<mailto:drewscph@post12.tele.dk> writes:
  But there also is:
  Norah Waughs The Cut of Mens Clothes, wich has very good pattern drafts. 
  But you have to scale them up.
  Alas!  The only pattern she has from this period is a greatcoat--great if you 
  want a greatcoat (heh, heh) but not if you want a tailcoat.
  Ann Wass


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

  Message: 14
  Date: Mon, 29 Dec 2003 14:25:15 -0800
  From: Kimiko Small <kimiko@kimiko1.com<mailto:kimiko@kimiko1.com>>
  Subject: RE: [h-cost] Lighting woes for my sewing room
  To: Historical Costume <h-costume@indra.com<mailto:h-costume@indra.com>>
  Message-ID: <5.2.1.1.0.20031229141159.00b0a4c8@64.87.54.245<mailto:5.2.1.1.0.20031229141159.00b0a4c8@64.87.54.245>>
  Content-Type: text/plain; charset=us-ascii; format=flowed

  To clarify the halogen bulbs I am speaking of, they are new kind that are 
  fully enclosed. Westinghouse Halogen Halomax, 60 watt soft white bulbs. 900 
  lumens, 60 watts energy used, 3000 hours. I found them at Lowes, buy 2 get 
  1 free package. I originally had put in florescent bulbs into the sockets 
  to replace the original lamps, but the florescent were too yellow in 
  coloring which put a ghastly shade of yellow over everything. While they 
  are a little warmer in heat than the florescent bulbs, they don't give off 
  as much heat as regular lamps do. I just put them in a few days ago, so I 
  will let you know how much more energy they draw from the electrical bill 
  later. But they are a nice white light.

  With all the talk about color corrected florescent lamps, try this web 
  site. http://www.fullspectrumsolutions.com/<http://www.fullspectrumsolutions.com/>. They have industrial and home 
  model florescent lamps, including types that look to be the same as Ott 
  lights, but at a lower price. And they discount if you buy bulk. I used 
  them for a photo company I worked for, that needs color corrected lamps all 
  the time.

  Someday if I can get the right electrical work, I will add in some more 
  color corrected lamps over the sewing area, but because I need the ceiling 
  fan in here, I had to go with the halogen bulbs for now. To be honest, my 
  computer puts off more heat than the lamps are right now. But my Ott lamp 
  is what I use most for close up work. And I don't use any floor lamps. I 
  need what little floor space I have for moving around in.

  And one other thing to help with lights, a white or light colored walls and 
  ceiling paint. While I want to add color to my room, having white walls in 
  here really does help with the light situation. And you can get bright 
  white ceiling paint to help reflect more light around the room.

  hth

  Kimiko

  Kimiko Small
  Costumer, Fiber Artist, Web Designer, Wife and Mother
  "When there is fear, there is no creativity" ~ C. Lowell

  Costume Mistress for Isle of Mann Guild
  Graphic Intern at Costume Gallery
  http://www.costumegallery.com<http://www.costumegallery.com/> 



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

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  End of h-costume Digest, Vol 2, Issue 884
  *****************************************
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Margo, did I understand correctly?  Are the set of the second edition of Elizabethan Lady's patterns available now? I've really been looking forward to this, thank you in advance.


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

DATE: Mon, 29 Dec 2003 21:48:05
From: h-costume-request@indra.com
To: h-costume@net.indra.com
Cc: 

>Send h-costume mailing list submissions to
>	h-costume@mail.indra.com
>
>To subscribe or unsubscribe via the World Wide Web, visit
>	http://mail.indra.com/mailman/listinfo/h-costume
>or, via email, send a message with subject or body 'help' to
>	h-costume-request@mail.indra.com
>
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>	h-costume-owner@mail.indra.com
>
>When replying, please edit your Subject line so it is more specific
>than "Re: Contents of h-costume digest..."
>
>
>Today's Topics:
>
>   1. ebay book (Kimiko Small)
>   2. Re: Re: scissors (Cynthia Virtue)
>   3. Re: what I got for Christmas & scissors
>      (lotsofteapots@charter.net)
>   4. Re: Margot Andersons Elizabethan lady pattern? (Margo Anderson)
>   5. Re: Re: scissors (Dawn)
>   6. Re: Margot Andersons Elizabethan lady pattern? (Lisa Sinervo)
>   7. Re: ebay book (Lisa Sinervo)
>   8. Cussin' Janet Arnold again...Women's loose gown	sleeve-anyone
>      else tried it? (Saragrace T. Knauf)
>   9. RE: Cussin' Janet Arnold again...Women's loose
>      gownsleeve-anyone else tried it? (Wanda Pease)
>  10. RE: Cussin' Janet Arnold again...Women's
>      loosegownsleeve-anyone else tried it? (Saragrace T. Knauf)
>  11. Anyone tried a beaver bucket? (Lisa Sinervo)
>  12. Re: Cussin' Janet Arnold again...Women's loose
>      gownsleeve-anyone else tried it? (seamstrix@juno.com)
>  13. RE: Anyone tried a beaver bucket? (Ron Carnegie)
>  14. Re: Captain Hook's coat (Carolyn Kayta Barrows)
>  15. Re: Lighting woes for my sewing room (Diana Habra)
>  16. Re: Re: scissors (Penny Ladnier)
>
>
>----------------------------------------------------------------------
>
>Message: 1
>Date: Mon, 29 Dec 2003 14:47:28 -0800
>From: Kimiko Small <kimiko@kimiko1.com>
>Subject: [h-cost] ebay book
>To: h-costume@indra.com
>Message-ID: <5.2.1.1.0.20031229144623.023a3ba8@64.87.54.245>
>Content-Type: text/plain; charset=us-ascii; format=flowed
>
>If someone is really interested in paying for this, as I am not as much as 
>I want it. I hate having a budget sometimes.
>
>Roy Strong TUDOR AND JACOBEAN PORTRAITS
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576551852&category=7703
>
>Good luck!
>
>Kimiko
>
>Kimiko Small
>Costumer, Fiber Artist, Web Designer, Wife and Mother
>"When there is fear, there is no creativity" ~ C. Lowell
>
>Costume Mistress for Isle of Mann Guild
>Graphic Intern at Costume Gallery
>http://www.costumegallery.com 
>
>
>
>------------------------------
>
>Message: 2
>Date: Mon, 29 Dec 2003 20:11:37 -0500
>From: Cynthia Virtue <cvirtue+dated+1088298490.3aa05e@thibault.org>
>Subject: Re: [h-cost] Re: scissors
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <3FF0D0C9.2000809@thibault.org>
>Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
>Chris Laning wrote:
>
>> I've been wondering about this for a while. I know that it's often
>claimed that paper dulls good scissors, but has anyone ever run across
>any hard evidence one way or the other? Or is this an Urban Sewing
>Legend? <g>
>
>Wood fibers are fairly rough, on the micro level.  That's why it's 
>recommended to never wipe your glasses with paper towels, facial tissue, 
>etc.  Also why facial tissue will scratch your nose over time, if you've 
>got inflamed skin from a cold.
>
>Hence the sale of special cleaning cloths for glasses (although an 
>all-cotton towel works great) and cotton-fiber facial tissues (or paper 
>ones loaded with lotion, to grease the way.)
>
>-- 
>Cynthia Virtue and/or
>Cynthia du Pré Argent
>
>And so, faced with shocking lack of documentation, I am forced to invent 
>some of my own.  -- Cecil Adams
>
>
>------------------------------
>
>Message: 3
>Date: Mon, 29 Dec 2003 19:14:26 -0600
>From: <lotsofteapots@charter.net>
>Subject: [h-cost] Re: what I got for Christmas & scissors
>To: <h-costume@indra.com>
>Message-ID: <000401c3ce72$44ad2f60$f7a8b944@mad.chartermi.net>
>Content-Type: text/plain;	charset="iso-8859-1"
>
>Just got through the backlog from being gone and thought I'd throw in my few
>cents...
>
>As for Christmas, the only sewing related thing was the book "Fine Machine
>Embroidery", which after reading through about half of it just looks like so
>much fun! I also got a Barnes & Noble gift card, so we'll see what may be
>gotten with that.
>
>And for scissors and hubbies - well, mine was raised by a sewing mom, so he
>came trained ;-) I've never had to tell him to stay away from my sewing
>scissors!
>
>**********************
>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
>**********************
>
>
>
>------------------------------
>
>Message: 4
>Date: Mon, 29 Dec 2003 17:18:09 -0800
>From: Margo Anderson <margo@margospatterns.com>
>Subject: Re: [h-cost] Margot Andersons Elizabethan lady pattern?
>To: Historical Costume <h-costume@indra.com>, h-costume@indra.com
>Message-ID: <3.0.6.32.20031229171809.011e4a80@pop.directcon.net>
>Content-Type: text/plain; charset="us-ascii"
>
>At 03:56 PM 12/29/2003 EST, MysticsLady9@aol.com wrote:
>>In a message dated 12/29/2003 12:49:02 PM Pacific Standard Time, 
>>ivycircle@yahoo.com writes:
>>Has anyone heard of a sale date for the second edition? Since hearing great 
>>things about the pattern I have been waiting a few months but still no
>update 
>>on the website. 
>
>I'm sorry for the delay. We have experienced cash flow problems due to a
>wholesale customer's having cancelled a large order, which was allocated to
>pay for the reprinting. Not unreasonably, the printing company refused to
>proceed until they were paid. We have managed to obtain funds from another
>source and the patterns will be on their way soon. 
>
>In the meantime, I have also completed the second edition/upgrade of the
>Underpinnings and Accesories packages and we are having them printed as well.
>
>Thanks for your patience, 
>
>Margo Anderson 
>
>
>"One Tough Costumer"
>
>www.margospatterns.com
>
>
>------------------------------
>
>Message: 5
>Date: Mon, 29 Dec 2003 19:38:13 -0600
>From: Dawn <dawn@reddawn.net>
>Subject: Re: [h-cost] Re: scissors
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <3FF0D705.8060801@reddawn.net>
>Content-Type: text/plain; charset=us-ascii; format=flowed
>
>
>> 
>> claimed that paper dulls good scissors, but has anyone ever run across
>> any hard evidence one way or the other? Or is this an Urban Sewing
>> Legend? <g>
>
>I do notice the difference between sharp fabric scissors, and fabric 
>scissors that get used to cut up nearly a ream of paper (ex roomie, 
>grr!) and scissors that have been freshly sharpened.
>
>So, no, it's not an urban legend.
>
>> 
>> Wood fibers are fairly rough, on the micro level.  That's why it's 
>> recommended to never wipe your glasses with paper towels, facial tissue, 
>> etc.  Also why facial tissue will scratch your nose over time, if you've 
>> got inflamed skin from a cold.
>
>Also why you don't want to use paper towels to wipe off the bed of your 
>scanner, and get a pack of those special eyeglass wipes instead.
>
>
>
>Dawn
>
>
>
>
>
>
>------------------------------
>
>Message: 6
>Date: Mon, 29 Dec 2003 17:46:40 -0800
>From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
>Subject: Re: [h-cost] Margot Andersons Elizabethan lady pattern?
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID: <000e01c3ce76$c60fe8a0$1c24a5d1@pavilion>
>Content-Type: text/plain;	charset="iso-8859-1"
>
>errghhh!  When things like this happen to me I can only think how much more
>useful I'd be with my time and money if I were Paris Hilton!  Hang in
>there!!!
>
>Lisa Sinervo
>
>----- Original Message -----
>From: "Margo Anderson" <margo@margospatterns.com>
>To: "Historical Costume" <h-costume@indra.com>; <h-costume@indra.com>
>Sent: Monday, December 29, 2003 5:18 PM
>Subject: Re: [h-cost] Margot Andersons Elizabethan lady pattern?
>
>
>> At 03:56 PM 12/29/2003 EST, MysticsLady9@aol.com wrote:
>> >In a message dated 12/29/2003 12:49:02 PM Pacific Standard Time,
>> >ivycircle@yahoo.com writes:
>> >Has anyone heard of a sale date for the second edition? Since hearing
>great
>> >things about the pattern I have been waiting a few months but still no
>> update
>> >on the website.
>>
>> I'm sorry for the delay. We have experienced cash flow problems due to a
>> wholesale customer's having cancelled a large order, which was allocated
>to
>> pay for the reprinting. Not unreasonably, the printing company refused to
>> proceed until they were paid. We have managed to obtain funds from another
>> source and the patterns will be on their way soon.
>>
>> In the meantime, I have also completed the second edition/upgrade of the
>> Underpinnings and Accesories packages and we are having them printed as
>well.
>>
>> Thanks for your patience,
>>
>> Margo Anderson
>>
>>
>> "One Tough Costumer"
>>
>> www.margospatterns.com
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
>
>
>------------------------------
>
>Message: 7
>Date: Mon, 29 Dec 2003 18:31:22 -0800
>From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
>Subject: Re: [h-cost] ebay book
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID: <000f01c3ce7d$04baf120$2739a5d1@pavilion>
>Content-Type: text/plain;	charset="iso-8859-1"
>
>Thanks Kimiko for the heads up!  thinking, thinking.... I do need to go on a diet anyway. :)....  Just had a look and Barnes and Noble has the same book with a 1980 publishing date at $250.  I wonder if this book might have more color in it as the 1969 edition seems to be mostly black and white.  Or am I incorrect here?  I don't think I'll be bidding, but definetly will be ILLing this one!  Also had a look under Roy Strong on www.bookfinder.com and there are quite a few more books of interest there!
>
>Lisa Sinervo - wishing I was Paris Hilton at the moment!
>www.thrednedlestrete.com
>
>
>----- Original Message ----- 
>From: "Kimiko Small" <kimiko@kimiko1.com>
>To: <h-costume@indra.com>
>Sent: Monday, December 29, 2003 2:47 PM
>Subject: [h-cost] ebay book
>
>
>> If someone is really interested in paying for this, as I am not as much as 
>> I want it. I hate having a budget sometimes.
>> 
>> Roy Strong TUDOR AND JACOBEAN PORTRAITS
>> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3576551852&category=7703
>> 
>> Good luck!
>> 
>> Kimiko
>> 
>> Kimiko Small
>> Costumer, Fiber Artist, Web Designer, Wife and Mother
>> "When there is fear, there is no creativity" ~ C. Lowell
>> 
>> Costume Mistress for Isle of Mann Guild
>> Graphic Intern at Costume Gallery
>> http://www.costumegallery.com 
>> 
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>> 
>
>
>------------------------------
>
>Message: 8
>Date: Mon, 29 Dec 2003 19:50:59 -0700
>From: "Saragrace T. Knauf" <saragrace@earthlink.net>
>Subject: [h-cost] Cussin' Janet Arnold again...Women's loose gown
>	sleeve-anyone else tried it?
>To: <h-costume@net.indra.com>
>Message-ID: <001f01c3ce7f$c16cd750$6501a8c0@SG01>
>Content-Type: text/plain;	charset="us-ascii"
>
>Has anyone else tried to reproduce the loose gown short sleeve on page 45 &
>46 sucessfully?  I drafted, sewed it up-blech.  Then I just blew her pattern
>up.same thing.  
>
> 
>
>What was she thinking?  Besides the obvious stuff like completely mismatched
>pieces, the shape produced looks very little like the actual sleeve.  Every
>time I think I will save some time using her patterns, I am disappointed. 
>
> 
>
>Does anyone know if she really sewed at all?
>
> 
>
>Sg
>
> 
>
>
>
>------------------------------
>
>Message: 9
>Date: Mon, 29 Dec 2003 19:06:03 -0800
>From: "Wanda Pease" <wandap@hevanet.com>
>Subject: RE: [h-cost] Cussin' Janet Arnold again...Women's loose
>	gownsleeve-anyone else tried it?
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID: <HGEEKKPFPKOJBDPGKLOCIEJLHMAA.wandap@hevanet.com>
>Content-Type: text/plain;	charset="US-ASCII"
>
>I did that one too, and didn't like the look of the sleeve either.  The
>width simply didn't work.  Finally I rounded it more, and it came out
>looking like the ones in Alcega.  Since he was making them at the time, I
>suspect he is a better source.
>
>Regina
>>
>> What was she thinking?  Besides the obvious stuff like completely
>> mismatched
>> pieces, the shape produced looks very little like the actual
>> sleeve.  Every
>> time I think I will save some time using her patterns, I am disappointed.
>>
>>
>>
>> Does anyone know if she really sewed at all?
>>
>>
>>
>> Sg
>>
>>
>
>
>
>
>------------------------------
>
>Message: 10
>Date: Mon, 29 Dec 2003 20:18:52 -0700
>From: "Saragrace T. Knauf" <saragrace@earthlink.net>
>Subject: RE: [h-cost] Cussin' Janet Arnold again...Women's
>	loosegownsleeve-anyone else tried it?
>To: "'Historical Costume'" <h-costume@indra.com>
>Message-ID: <002401c3ce83$a6a11cc0$6501a8c0@SG01>
>Content-Type: text/plain;	charset="us-ascii"
>
>I just took a quick look at Algacea and don't see anything like the sleeve
>puff except maybe on 70a: Silk gown for a woman. Which one are you speaking
>of.  
>
>Also I am curious if the stylized loose gown Arnold shows on page 45
>(Primariae mulieris...Belgas) sleeve is exaggerated.  The rest of the
>drawing doesn't seem to be, so I am wondering if that sleeve cap is.  It'd
>be fun to do....I think I like it better than the round cap... opinions?
>
>And just what are those things that look like braids hanging on either side
>of her head and round her neck....?
>
>
>
>
>
>------------------------------
>
>Message: 11
>Date: Mon, 29 Dec 2003 19:35:00 -0800
>From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
>Subject: [h-cost] Anyone tried a beaver bucket?
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID: <000c01c3ce85$e8759ca0$a22da5d1@pavilion>
>Content-Type: text/plain;	charset="iso-8859-1"
>
>I'm passing on book buying at the moment as I need a good washtub for my starch house re-creation (Yes, I'd still like to do a tailor's shop but that I'm going to have to grow into - I'm starting smaller).  Beaver buckets http://www.beaverbuckets.com/WashTubs.htm has a very nice oak washtub for $250 - yes I do need to diet!!! But I was wondering if anyone has ever used such a tub before.  Anyone know of any better prices?  I would like a nice quality one.  
>
>Thanks,
>
>Lisa Sinervo
>
>costume content - the bucket will be used for washing dirty ruffs!
>
>
>------------------------------
>
>Message: 12
>Date: Mon, 29 Dec 2003 21:30:04 -0600
>From: seamstrix@juno.com
>Subject: Re: [h-cost] Cussin' Janet Arnold again...Women's loose
>	gownsleeve-anyone else tried it?
>To: h-costume@indra.com
>Message-ID: <20031229.213005.-489645.0.Seamstrix@juno.com>
>Content-Type: text/plain; charset=us-ascii
>
>According to Jean Hunnisett (who I had the pleasure of playing chauffeur
>and general Friendly Native Guide for on her last visit to the States),
>Janet Arnold was much more of researcher and theoretician than an actual
>costumer. In many cases Janet would do research and come up with ideas
>and then advise on designs that Jean would then make up.  Apparently part
>of the reason they had a 'falling out' was over the theoretical versus
>practical aspect of recreating costumes- each lady was very knowledgable
>and opinionated and had her own ideas which occasionally clashed. Ah, to
>be in Costumer's Heaven eavesdropping on their discussions now!
>
>
>Karen
>
>________________________________________________________________
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>------------------------------
>
>Message: 13
>Date: Mon, 29 Dec 2003 22:39:17 -0500
>From: "Ron Carnegie" <r.carnegie@verizon.net>
>Subject: RE: [h-cost] Anyone tried a beaver bucket?
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID: <AMEILDGJMMAINBHCCPDCOENGCDAA.r.carnegie@verizon.net>
>Content-Type: text/plain;	charset="iso-8859-1"
>
>
>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
>> Behalf Of Lisa Sinervo
>> Sent: Monday, December 29, 2003 10:35 PM
>> To: Historical Costume
>> Subject: [h-cost] Anyone tried a beaver bucket?
>>
>>
>> I'm passing on book buying at the moment as I need a good washtub
>> for my starch house re-creation (Yes, I'd still like to do a
>> tailor's shop but that I'm going to have to grow into - I'm
>> starting smaller).  Beaver buckets
>> http://www.beaverbuckets.com/WashTubs.htm has a very nice oak
>> washtub for $250 - yes I do need to diet!!! But I was wondering
>> if anyone has ever used such a tub before.  Anyone know of any
>> better prices?  I would like a nice quality one.
>>
>> Thanks,
>>
>> Lisa Sinervo
>>
>> costume content - the bucket will be used for washing dirty ruffs!
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>
>   I have used similiar tubs for doing dishes at work.  There are of course
>certain maintenance issues with cooperage.  I have also seen some of the
>beaver bucket stuff in person, though I have not used any personally.  Have
>our own coopers at work.  The beaver stuff looks like it should work well.
>
>    Costume content- I don't think I ever used any cooperage for washing
>clothes, having rather boiled it in copper or iron kettles.  I have however
>used a goffering iron to press 18th Century ruffles.
>
>Cheers,
>Ron
>
>
>
>------------------------------
>
>Message: 14
>Date: Mon, 29 Dec 2003 19:58:34 -0800
>From: Carolyn Kayta Barrows <kayta@frys.com>
>Subject: Re: [h-cost] Captain Hook's coat
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <4.3.1.2.20031229195612.05119860@mail.frys.com>
>Content-Type: text/plain; charset="us-ascii"; format=flowed
>
>
>>My coat will not be anything like your fine court coats.  Mine will
>>probably require that I prematurely age the garment before I ever wear
>>it.  I think I know where I can get some faded velvet curtains I can use
>>for the fabric.
>>
>>I don't know about the rest of us, but MY curiosity is piqued!
>
>See the film.  My coat will be red if I can get a faded curtain in red, but 
>I will be a scummy pirate where Bjarne will be a profusely embroidered 
>courtier.  BTW, I have just finished reading the original story, and it 
>says that Hook's coat is from the period of Charles II of England.  In the 
>film it's a little later than that, I think, but not by much.
>
>
>        CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
>           /----\   /---\))
>
>
>
>------------------------------
>
>Message: 15
>Date: Mon, 29 Dec 2003 20:09:07 -0800 (PST)
>From: "Diana Habra" <dch@inreach.com>
>Subject: Re: [h-cost] Lighting woes for my sewing room
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID:
>	<46342.162.119.64.110.1072757347.squirrel@webmail.inreach.com>
>Content-Type: text/plain;charset=iso-8859-1
>
>
>> Hey everyone!
>>
>> I was hoping to pick your brains on a problem I am having.  Namely not
>> having enough light in my sewing room!
>
>Thanks for everyone's responses!  Part of my problem is that I have high
>ceilings (10 foot) so by the time the torchiere goes up and comes back it
>is not very bright.  Also I was silly and painted my sewing room a lovely
>dusty rose color and I think that the color is making the light seem dull.
>
>I am going to pursue either flourescent lights or some track lighting with
>full spectrum bulbs.  I actually bought some full spectrum bulbs at Costco
>a few days ago so if anyone has access and wants to check it out....they
>were 3-way bulbs and in a 3-pack for arount $5-6.
>
>Thanks again for the suggestions!
>
>-- 
>Diana Habra
>www.renaissancefabrics.net
>"Everything for the Costumer"
>
>
>------------------------------
>
>Message: 16
>Date: Mon, 29 Dec 2003 23:44:33 -0500
>From: "Penny Ladnier" <penny@costumegallery.com>
>Subject: Re: [h-cost] Re: scissors
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID: <022a01c3ce8f$9efc83e0$0400a8c0@comcast.net>
>
>Oh, Megan, that wasn't my website... it was just an image of them I found on
>the web.
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>www.costumegallery.com
>www.costumeclassroom.com
>----- Original Message ----- 
>From: "Megan M." <megan@benchite.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Monday, December 29, 2003 11:41 AM
>Subject: RE: [h-cost] Re: scissors
>
>
>> Ah, I love the Fiskars as well.  I have used my 50% off coupons at Joann's
>> chain stores to get those several times (one pair got "borrowed" and has a
>> nick).  The price is often much better than Penny's website listed them
>for,
>> so shop around.  They also make a small pair of thread snips that I love
>and
>> keep right by the sewing machines.
>> -Megan
>>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
>(http://www.plugit.com)]
>>
>>
>
>
>[This E-mail was scanned for viruses by Plugit.com Virus Scanners (http://www.plugit.com)]
>
>
>
>------------------------------
>
>_______________________________________________
>h-costume mailing list
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>
>
>End of h-costume Digest, Vol 2, Issue 885
>*****************************************
>



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Pierre & Sandy Pettinger wrote:

>  It has a 3-way bulb and 3 60-watt bulbs.  I 
> can't put them all on at once, though, or it pops the circuit breakers.  

Try those new energy saving bulbs. You can get ones that only draw 26w 
but put out light like a 100w bulb. It really makes a difference in 
situations where you need light but can't get it from older wiring. I 
use them in my small desk lamp for painting, where it only takes a 60w 
or less. They cost a few dollars more, but you get way more lighting and 
they last for years.




Dawn



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Subject: Re: [h-cost] Re: lighting and vision
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I had terrible luck with those. I tried them for the lamp where I do
embroidery, and couldn't see a thing. I found the light very gray, and as
someone who has Seasonal Affective Disorder, found the quality of the
light very depressing as well. Within a week, I switched back to a
regular light bulb and haven't looked back.

Arlys

On Tue, 30 Dec 2003 09:08:00 -0600 Dawn <dawn@reddawn.net> writes:
> Pierre & Sandy Pettinger wrote:
> 
> >  It has a 3-way bulb and 3 60-watt bulbs.  I 
> > can't put them all on at once, though, or it pops the circuit 
> breakers.  
> 
> Try those new energy saving bulbs. You can get ones that only draw 
> 26w 
> but put out light like a 100w bulb. It really makes a difference in 
> situations where you need light but can't get it from older wiring. 
> I 
> use them in my small desk lamp for painting, where it only takes a 
> 60w 
> or less. They cost a few dollars more, but you get way more lighting 
> and 
> they last for years.
> 
> 
> 
> 
> Dawn
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Cynthia J Ley wrote:
> I had terrible luck with those.

I have found that they vary *enormously* between brands.  Some are 
great.  Some are pink.  Some are grey.  If you want to try them, buy 
similar output ones from two or three companies, if you can get them.

Right now, I'm very happy with Maxlight brand.  My old Lights of America 
brand ones are very greenish.  The Maxlight is pale pink when turned on, 
but within a minute or two produces a very good light.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

And so, faced with shocking lack of documentation, I am forced to invent 
some of my own.  -- Cecil Adams
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--- Bice d'Este <wantstobecorsetted1@hotmail.com>
wrote:
> isn't that Winego's pattern? Patterns of Time is the
> carrier for a number of
> pattern companies. 

Right you are--thanks.  I had never heard of Winego,
but The Great Pattern Review seems to like them better
than Rocking Horse Farm in general.

Also, thanks to the person who reported on what's in
"The Cut of Men's Clothes".  I found a couple of other
likely-looking books, but I will wait until I have a
chance to flip through them before buying.  ("Men's
17th & 18th Century Costume: Cut and Fashion" by R.I.
Davis, and "Costume Close Up, Clothing Construction
and Pattern, 1750-1790" by Baumgarten)

-Angela



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From: "Bice d'Este" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20031230162519.8094.qmail@web20202.mail.yahoo.com>
Subject: Re: [h-cost] looking for a pattern
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Winego isn't *too* bad I think a lot of people dislike the blueprint
properties of a couple of these companies and it is distracting to try and
hook pieces together. But in general they aren't bad. I rather like Rocking
Horse myself but everyone I know really hates them. i've seen some other
companies that are FAR worse.

B~
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb ($2 shipping to list members on books
and patterns!)
Live Journal http://snipurl.com/3jcs
----- Original Message ----- 
> > isn't that Winego's pattern? Patterns of Time is the
> > carrier for a number of
> > pattern companies.
>
> Right you are--thanks.  I had never heard of Winego,
> but The Great Pattern Review seems to like them better
> than Rocking Horse Farm in general.
>
> Also, thanks to the person who reported on what's in
> "The Cut of Men's Clothes".  I found a couple of other
> likely-looking books, but I will wait until I have a
> chance to flip through them before buying.  ("Men's
> 17th & 18th Century Costume: Cut and Fashion" by R.I.
> Davis, and "Costume Close Up, Clothing Construction
> and Pattern, 1750-1790" by Baumgarten)
>
> -Angela
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Date: Tue, 30 Dec 2003 08:52:47 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Re: lighting and vision
To: Historical Costume <h-costume@indra.com>
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However, you can order these energy efficient bulbs from certain 'energy conscious' catalogues with a different color spectrum, to get a 'truer to life' spectrum of color. I suspect that would ease your  SAD effects as well.As soon as I run across that catalogue in my mailbox I'll write you with the name .
Albra

Cynthia J Ley <cley@juno.com> wrote:
I had terrible luck with those. I tried them for the lamp where I do
embroidery, and couldn't see a thing. I found the light very gray, and as
someone who has Seasonal Affective Disorder, found the quality of the
light very depressing as well. Within a week, I switched back to a
regular light bulb and haven't looked back.

Arlys

On Tue, 30 Dec 2003 09:08:00 -0600 Dawn writes:
> Pierre & Sandy Pettinger wrote:
> 
> > It has a 3-way bulb and 3 60-watt bulbs. I 
> > can't put them all on at once, though, or it pops the circuit 
> breakers. 
> 
> Try those new energy saving bulbs. You can get ones that only draw 
> 26w 
> but put out light like a 100w bulb. It really makes a difference in 
> situations where you need light but can't get it from older wiring. 
> I 
> use them in my small desk lamp for painting, where it only takes a 
> 60w 
> or less. They cost a few dollars more, but you get way more lighting 
> and 
> they last for years.
> 
> 
> 
> 
> Dawn
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Bice d'Este wrote:

>  I rather like Rocking
> Horse myself but everyone I know really hates them. i've seen some other
> companies that are FAR worse.
> 

What is it that people don't like about Rocking Horse? They seem to have 
a good selection of patterns. Are they badly drafted? Do they not fit? 
Are the instructions bad? I have yet to find a pattern company that has 
really good instructions.



Dawn



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From: "Bice d'Este" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] looking for a pattern
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Well the instruction are either too simplistic or too complicated. There's
no happy medium. And they are really blueprints. Great big sheets that need
to be taped together.I've also heard people complain over the fit and that
the drafting is awkward. Like I said though I've never had a big issue with
them. I've used the hobble skirt pattern made it in wool and it's turned out
fine. And it was in my size which always rocks. I'm a larger size (18) and
even Folkwear doesn't always go that high (they are revamping however slowly
and will have plus sizes soon) My thoughts are to try one and see what you
think. I'd start with an easier one of thiers though. The Hobble Skirt is
simple and you can check out the site at http://www.rockinghorse-farm.com/ I
will say they are not for the faint of heart. You MUST have moderate to
advanced sewing skills and understand how a pattern goes together.

B~
Now announcing the new
Rolled Florentine Cap
Kristalori History
www.swapking.com/hats
Also on Ebay:  http://snipurl.com/3csb($2 shipping to list members on books
and patterns!)


Live Journal http://snipurl.com/3jcs
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: December 30, 2003 11:58 AM
Subject: Re: [h-cost] looking for a pattern


> Bice d'Este wrote:
>
> >  I rather like Rocking
> > Horse myself but everyone I know really hates them. i've seen some other
> > companies that are FAR worse.
> >
>
> What is it that people don't like about Rocking Horse? They seem to have
> a good selection of patterns. Are they badly drafted? Do they not fit?
> Are the instructions bad? I have yet to find a pattern company that has
> really good instructions.
>
> Dawn
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Dawn wrote:
What is it that people don't like about Rocking Horse? They seem to have

a good selection of patterns. Are they badly drafted? Do they not fit? 
Are the instructions bad?

I would have to say YES to all the above, but I have only used 2 of
their patterns, and will never buy another.

Kim




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Subject: Re: [h-cost] Cussin' Janet Arnold again...Women's loose
	gown	sleeve-anyone else tried it?
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> Has anyone else tried to reproduce the loose gown short sleeve on page
> 45 & 46 sucessfully?  I drafted, sewed it up-blech.  Then I just blew
> her pattern up.same thing.  

I used a variation on it.

You do need to have an inner "form" (which she calls the foundation) 
or the puffs hang and pull funny. Over that you need to have the 
puffed parts (which can be a full small puffed sleeve like you see in 
the Snow White cartoon) with the bands. (This is similar in 
construction to the pluderhosen/trunk hose where you have the basic 
pants, then poofy ones over it.) Then there is the separate "cuff" 
that goes on the bottom. Her basic pattern works, but I would not 
just blow it up. (Ignore the bit that says "shape of sleeve" because 
neither the pattern above it nor the real one on page 45 show a seam 
or decoration across the sleeve like "shape of sleeve" shows.)

> What was she thinking?  Besides the obvious stuff like completely
> mismatched pieces, the shape produced looks very little like the
> actual sleeve.  Every time I think I will save some time using her
> patterns, I am disappointed. 
> 
> Does anyone know if she really sewed at all?

She didn't actually draft all those patterns, let alone try them out. 
After a lecture she did, several of us asked about the patterns. She 
said that her grad students often did the drafting and that she 
didn't have time to check them all. There are *many* errors 
throughout the patterns. 

For more specifics, try to get hold of a copy of Bob Trump's _The 
Annotated Arnold_. He goes almost point by point through the entire 
book showing where the errors are so that you can tell what does work 
and what doesn't.

She actually did sew. But the patterns weren't meant to be blown up 
and used (according to what she said) but used as rough ideas of how 
the pattern pieces would work.

I think that the most hilarious "error" in the book is figure 14 on 
page 5. That's the "arming sleeve" and they've got the thing 
completely put together wrong! The drawings are totally bogus. (Well, 
the one which says "sleevehead" at the top can be used, but not with 
the matching marks that are shown. Match the straight part to 
straight part on the upper sleeve and the curved part to the curved 
part on the lower sleeve. Why they have the upper sleeve straight 
part to the top of the lower sleeve is beyond me! When put together 
correctly, it should look more like: 
http://www.flg.es/museo/contenido/colecciones/pintura/8030.htm
(Although this particular sleeve was made slightly differently. It is 
most likely made by using the sleeve from figure 29 on page 7 but 
slashing it across instead of up and down the front the way figure 30 
shows it.)

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Cussin' Janet Arnold again...Women's loose
	gown	sleeve-anyone else tried it?
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
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>From what I understand, and my understanding was constructed from sitting
in many lectures, workshops, picking folks brains, reading her other
articles, and yes ... mailing lists like this one ... the pieces we see
are not at all for reproduction.

The pieces we see are off the garments that she was allowed to touch and
sometimes take apart from the different time periods.

I am not a professional. But my father runs a museum in deep south Texas.
I know, big whoop, but they have textiles there. I have been able to look
at some of them, the wedding dresses from the turn of the century, and I
have to tell you. There is no way in hell anyone could recreate those
dresses exactly and fit into them without knowing the exact foundations
that went with them. I have also been able to look at but not touch the
beautiful collections at UT Austin in the Textiles building (surely
renamed by now to some money rolling person's name). I got to even see the
Gone with the Wind Dresses now on display. :)

I am not saying that the underdresses need foundations. I am just saying
that the pieces that she had to work with, in the manner that she had to
work with, left her to use a lot of imagination to make up for the spots
that were "missing" or she was unable to really get to cause they could
not be taken apart.

I also seem to remember that at the beginning of her books she states that
these are not patterns but recreations of the garments she used for her
research.

I did talk to Bob a couple of times to get permission to post images of
the gloves his created on my gloves website and asked about this and he
agreed that she did indeed state it. Bob is cool. :) Buy his books.

Chiara

>
>> Has anyone else tried to reproduce the loose gown short sleeve on page
>> 45 & 46 sucessfully?  I drafted, sewed it up-blech.  Then I just blew
>> her pattern up.same thing.
>
> I used a variation on it.
>
> You do need to have an inner "form" (which she calls the foundation)  or
> the puffs hang and pull funny. Over that you need to have the
> puffed parts (which can be a full small puffed sleeve like you see in
> the Snow White cartoon) with the bands. (This is similar in
> construction to the pluderhosen/trunk hose where you have the basic
> pants, then poofy ones over it.) Then there is the separate "cuff"  that
> goes on the bottom. Her basic pattern works, but I would not  just blow
> it up. (Ignore the bit that says "shape of sleeve" because  neither the
> pattern above it nor the real one on page 45 show a seam  or decoration
> across the sleeve like "shape of sleeve" shows.)
>
>> What was she thinking?  Besides the obvious stuff like completely
>> mismatched pieces, the shape produced looks very little like the
>> actual sleeve.  Every time I think I will save some time using her
>> patterns, I am disappointed.
>>
>> Does anyone know if she really sewed at all?
>
> She didn't actually draft all those patterns, let alone try them out.
> After a lecture she did, several of us asked about the patterns. She
> said that her grad students often did the drafting and that she
> didn't have time to check them all. There are *many* errors
> throughout the patterns.
>
> For more specifics, try to get hold of a copy of Bob Trump's _The
> Annotated Arnold_. He goes almost point by point through the entire
> book showing where the errors are so that you can tell what does work
> and what doesn't.
>
> She actually did sew. But the patterns weren't meant to be blown up  and
> used (according to what she said) but used as rough ideas of how  the
> pattern pieces would work.
>
> I think that the most hilarious "error" in the book is figure 14 on
> page 5. That's the "arming sleeve" and they've got the thing
> completely put together wrong! The drawings are totally bogus. (Well,
> the one which says "sleevehead" at the top can be used, but not with
> the matching marks that are shown. Match the straight part to
> straight part on the upper sleeve and the curved part to the curved
> part on the lower sleeve. Why they have the upper sleeve straight  part
> to the top of the lower sleeve is beyond me! When put together
> correctly, it should look more like:
> http://www.flg.es/museo/contenido/colecciones/pintura/8030.htm
> (Although this particular sleeve was made slightly differently. It is
> most likely made by using the sleeve from figure 29 on page 7 but
> slashing it across instead of up and down the front the way figure 30
> shows it.)
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



Ches


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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] So, What'd ya get?
Date: Tue, 30 Dec 2003 10:53:17 -0800
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Margo, you are *brilliant*.

.heather.


On Dec 28, 2003, at 12:19 PM, Margo Anderson wrote:

> At 07:39 PM 12/27/2003 -0500, Penny Ladnier wrote:
>> I wish I could train my kids to leave the scissors alone.
>
> Penny, try putting a small padlock through the finger loops!
>
> Margo
>
> "One Tough Costumer"
>
> www.margospatterns.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] scissors
Date: Tue, 30 Dec 2003 10:55:42 -0800
To: Historical Costume <h-costume@indra.com>
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My new favorite scissors are the ones my school uses - KAI.  They are 
light, the finger holes are sizeable, and they just work like a dream.  
I'm ordering two pair next month!

http://www.kaiscissors.com/

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Subject: [h-cost] Robert Trump books-where can you buy them? Was Loose Gown
	Sleeve
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Chiara Francesca Arianna d'Onofrio
Sent: Tuesday, December 30, 2003 10:57 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Cussin' Janet Arnold again...Women's loosegown
sleeve-anyone else tried it?

I did talk to Bob a couple of times to get permission to post images of
the gloves his created on my gloves website and asked about this and he
agreed that she did indeed state it. Bob is cool. :) Buy his books.

[Sg] How do you buy his books?   I thought they were not in print?

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Subject: Re: [h-cost] Cussin' Janet Arnold again...Women's loose gown
	sleeve-anyone el...
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In a message dated 12/30/2003 12:30:39 PM Eastern Standard Time, 
kat@grendal.rain.com writes:

> But the patterns weren't meant to be blown up 
> and used (according to what she said) but used as rough ideas of how 
> the pattern pieces would work.
> 

And why would you expect a pattern taken from a garment made especially for 
one individual in an era sans premade clothes to be more than a guide?

Still, it's easy to understand how some things get just plain wrong. I mean 
look at "The Cut of Women's Clothes"!

Still, these books are invaluable....IMHO of course.
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Subject: RE: [h-cost] Cussin' Janet Arnold again...Women's loosegown
	sleeve-anyone else tried it?
Date: Tue, 30 Dec 2003 12:02:26 -0700
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"You do need to have an inner "form" (which she calls the foundation) 
or the puffs hang and pull funny. Over that you need to have the 
puffed parts (which can be a full small puffed sleeve like you see in 
the Snow White cartoon) with the bands. (This is similar in 
construction to the pluderhosen/trunk hose where you have the basic 
pants, then poofy ones over it.) Then there is the separate "cuff" 
that goes on the bottom. Her basic pattern works, but I would not 
just blow it up. (Ignore the bit that says "shape of sleeve" because 
neither the pattern above it nor the real one on page 45 show a seam 
or decoration across the sleeve like "shape of sleeve" shows.)"

[Sg] Yes, I just draped and drafted the inner sleeve.  And I do understand
that there is a cuff.  After fiddling with it awhile, I noticed that her
pattern makes a more rounded puff than the drawing would indicate (it is
more like the actual garment).  Her drawing looks more like something in
between the very rounded sleeve cap and the stylized drawing (woodcut?) of
the Belgian woman.


"She didn't actually draft all those patterns, let alone try them out. 
After a lecture she did, several of us asked about the patterns. She 
said that her grad students often did the drafting and that she 
didn't have time to check them all. There are *many* errors 
throughout the patterns." 

[Sg] It is odd that she doesn't mention that specifically in her intro.
(Other than thanking many people)


She actually did sew. But the patterns weren't meant to be blown up 
and used (according to what she said) but used as rough ideas of how 
the pattern pieces would work.

[Sg] Hmm, I can understand that they couldn't be used as is and would have
to be fitted, but what is the point of providing to scale drawings...?

When it is all said and done, I am very grateful for the drawings.  I am at
point in my own drafting and draping that I am able to just do it on my own.
I guess I feel sorry for those who are just starting out who try to use the
patterns.  If you don't have confidence in your own abilities, you might
walk away thinking there was something wrong with you!





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Subject: RE: [h-cost] Cussin' Janet Arnold again...Women's loose
	gownsleeve-anyone el...
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"And why would you expect a pattern taken from a garment made especially for

one individual in an era sans premade clothes to be more than a guide?

[Sg] I don't expect them to fit me per se, but I do expect that the pattern
as is would give the shape described in the drawings...which they often do
not.

Still, it's easy to understand how some things get just plain wrong. I mean 
look at "The Cut of Women's Clothes"!

Still, these books are invaluable....IMHO of course.
___________________________________________
[Sg] I don't disagree that they are invaluable.  But I wouldn't publish
patterns to scale that simply didn't work...that is just me of course!



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Subject: Re: [h-cost] Cussin' Janet Arnold again...Women's loose
	gown	sleeve-anyone else tried it?
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Greetings,

I feel ever so much more vindicated now.  I just couldn't figure out 
some of her patterns and basically drew the one I did, The Eleanora 
dress, from scratch.

I am hoping to get to see the original this summer, but I can't decide 
on an era to study while I"m over there.  it's the kid in a candy jar 
syndrome.  :D

Will you be at 12th Night?
Sofia

On Tuesday, December 30, 2003, at 09:30 AM, kat@grendal.rain.com wrote:

>
>> Has anyone else tried to reproduce the loose gown short sleeve on page
>> 45 & 46 sucessfully?  I drafted, sewed it up-blech.  Then I just blew
>> her pattern up.same thing.
>
> I used a variation on it.
>
> You do need to have an inner "form" (which she calls the foundation)
> or the puffs hang and pull funny. Over that you need to have the
> puffed parts (which can be a full small puffed sleeve like you see in
> the Snow White cartoon) with the bands. (This is similar in
> construction to the pluderhosen/trunk hose where you have the basic
> pants, then poofy ones over it.) Then there is the separate "cuff"
> that goes on the bottom. Her basic pattern works, but I would not
> just blow it up. (Ignore the bit that says "shape of sleeve" because
> neither the pattern above it nor the real one on page 45 show a seam
> or decoration across the sleeve like "shape of sleeve" shows.)
>
>> What was she thinking?  Besides the obvious stuff like completely
>> mismatched pieces, the shape produced looks very little like the
>> actual sleeve.  Every time I think I will save some time using her
>> patterns, I am disappointed.
>>
>> Does anyone know if she really sewed at all?
>
> She didn't actually draft all those patterns, let alone try them out.
> After a lecture she did, several of us asked about the patterns. She
> said that her grad students often did the drafting and that she
> didn't have time to check them all. There are *many* errors
> throughout the patterns.
>
> For more specifics, try to get hold of a copy of Bob Trump's _The
> Annotated Arnold_. He goes almost point by point through the entire
> book showing where the errors are so that you can tell what does work
> and what doesn't.
>
> She actually did sew. But the patterns weren't meant to be blown up
> and used (according to what she said) but used as rough ideas of how
> the pattern pieces would work.
>
> I think that the most hilarious "error" in the book is figure 14 on
> page 5. That's the "arming sleeve" and they've got the thing
> completely put together wrong! The drawings are totally bogus. (Well,
> the one which says "sleevehead" at the top can be used, but not with
> the matching marks that are shown. Match the straight part to
> straight part on the upper sleeve and the curved part to the curved
> part on the lower sleeve. Why they have the upper sleeve straight
> part to the top of the lower sleeve is beyond me! When put together
> correctly, it should look more like:
> http://www.flg.es/museo/contenido/colecciones/pintura/8030.htm
> (Although this particular sleeve was made slightly differently. It is
> most likely made by using the sleeve from figure 29 on page 7 but
> slashing it across instead of up and down the front the way figure 30
> shows it.)
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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Subject: Re: [h-cost] looking for a pattern
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The men's tunic and undertunic pattern went together like a dream. I had to
alter the undertunic's collar slightly but it was no big deal. I have a
couple other patterns from them, but haven't used them yet.
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 30, 2003 11:58 AM
Subject: Re: [h-cost] looking for a pattern


> Bice d'Este wrote:
>
> >  I rather like Rocking
> > Horse myself but everyone I know really hates them. i've seen some other
> > companies that are FAR worse.
> >
>
> What is it that people don't like about Rocking Horse? They seem to have
> a good selection of patterns. Are they badly drafted? Do they not fit?
> Are the instructions bad? I have yet to find a pattern company that has
> really good instructions.
>
>
>
> Dawn
>
>
>
> _______________________________________________
> 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] Robert Trump books-where can you buy them? Was Loose
	Gown Sleeve
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Contact him directly. I thought he was selling them through Quite Specific
Media but might be wrong. I ordered mine directly through him.

RWTrump@aol.com
Bob Trump
3343 Commonwealth
St. Louis, MO 63143-3505

Saragrace T. Knauf said:
>
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Chiara Francesca Arianna d'Onofrio
> Sent: Tuesday, December 30, 2003 10:57 AM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Cussin' Janet Arnold again...Women's loosegown
> sleeve-anyone else tried it?
>
> I did talk to Bob a couple of times to get permission to post images of
> the gloves his created on my gloves website and asked about this and he
> agreed that she did indeed state it. Bob is cool. :) Buy his books.
>
> [Sg] How do you buy his books?   I thought they were not in print?
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



Ches


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Date: Tue, 30 Dec 2003 12:20:51 -0800 (PST)
From: Beatrice Sidney <beatricesidney@yahoo.com>
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Subject: [h-cost] Annotated Arnold
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Is this published? Does anyone have a full citation? Everyone I know who does serious Elizabethan has told me to get my hands on this, but no one can tell me how....
 
*sigh*
 
Beatrice



For more specifics, try to get hold of a copy of Bob Trump's _The 
Annotated Arnold_. He goes almost point by point through the entire 
book showing where the errors are so that you can tell what does work 
and what doesn't.



It is said that knowledge comes only to those who seek it; but some knowledge pursues us without respite or mercy.

English doesn't borrow from other languages. English follows other languages down dark alleys, knocks them over and goes through their pockets for loose grammer.

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] looking for a pattern
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I used the Rocking Horse  pattern for the Regency Riding Habit.It was'nt too bad---I had to do a little 'futzing' with it to make it fit properly--(I'm about a size 16 )And the instructions were a little confusing. I would'nt recommend them for a 'sewing newby'.
Albra

Dawn <dawn@reddawn.net> wrote:
Bice d'Este wrote:

> I rather like Rocking
> Horse myself but everyone I know really hates them. i've seen some other
> companies that are FAR worse.
> 

What is it that people don't like about Rocking Horse? They seem to have 
a good selection of patterns. Are they badly drafted? Do they not fit? 
Are the instructions bad? I have yet to find a pattern company that has 
really good instructions.



Dawn



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Thank you for the help with the lights everyone! :-)

Arlys

On Tue, 30 Dec 2003 08:52:47 -0800 (PST) KATHRYN WOLTERS
<albrakat7@yahoo.com> writes:
> However, you can order these energy efficient bulbs from certain 
> 'energy conscious' catalogues with a different color spectrum, to 
> get a 'truer to life' spectrum of color. I suspect that would ease 
> your  SAD effects as well.As soon as I run across that catalogue in 
> my mailbox I'll write you with the name .
> Albra


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Hello, everyone.  Catching up on mail after holiday travel. 
 
I started having lots of trouble seeing color-on-color while trying to handsew or embroider about the time my husband remodeled the "sewing room" portion of the office.  So we painted the room white and installed  2 flourescent fixtures on the ceiling, the kind used for garage work spaces, and put full spectrum bulbs in them.  All the cabinetry is white and so are the blinds, everything reflects lights and with no addtional heat.  A life saver!
 
As for the scissors getting dull on paper-at work I use xacto blades to cut loads of paper, and wow do they get dull fast!  
 
When my husband and I were dating, we got into a big fight because he used my fabric scissors for paper.  He argued that I was wrong and I informed him that wrong or not, they were MY scissors and if he had no respect for them, he wouldn't be asked back. He sort of acquiesced.  I also tied a white ribbon to the handle and wrote "FABRIC ONLY" on it.  Not long afterwards, he began sewing my wedding gown from silk and had to go buy a pair of good fabric scissors.  Sheepishly.  He's never admitted I was right, but we don't have a problem anymore.


Jennifer Fleury
Assistant Property Master
"Century City"
Universal Network Television

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] bobbin lace patterns and sources
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Ysandra.
I have scanned 6 large files for you with 9 old renaissance laces, pattern
and drawing. They are old renaissance laces and some of them are construkted
after a royal burrial at Roskilde Cathedral where some royal childrens
coiffins was restored and examined.
You asked about Neues Modelbook, and i must disapoint you here, because they
are all needlework laces and not bobbin lace.
Le Pompe is the only book wich has the old patterns, and then the book i got
these patterns from wich is a danish lace book wich the danish lace guild
published.
So if i am going to send them for you, you must email me privately with your
email address.
My email is: drewscph@post12.tele.dk

The way i used to make ruffs, i cut out 5-6 cirkles in the width i want to
have my ruff. In the center of each cirkle you make another cirkle wich
should be the same width as your neck.
Then on the place where the cutting of the fabric is diagonal weave, i make
a cut into the cirkle and cut out the inner cirkle. When you have done this
to all 5 or 6 pieces, you sew them together so that it gets one piece.
Then you make a neckband the hight you would like your ruff to be, and then
you start to pleat the ruff together.
I usually use 2 needles at the same time, one for the upper neckband, and
one for the lower neckband.´
So you use a lot yardage for a real pleated ruff, i would say, but dont kill
me as this is very individually and depends on the shape and size of the
ruff, about 8-9 yards.
But if you "only" wants to make this standing collar we have talked about,
you would probably only have to use 1- 2 yards.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Joe Robertson <joedr@charter.net>
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Hello everyone,
   It's been a while since I've written, but it's good to be back. I am
trying to find a quality period clothier in the Dallas/Fort Worth area
to help in dressing my family correctly. I know there must be a good
renaissance seamstress or tailor out here somewhere. Anyone have any
suggestions? We are placing ourselves in the Scottish highlands of the
mid 1500's, and our persona's are nobles.
Cheers,
Joe
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> > But the patterns weren't meant to be blown up 
> > and used (according to what she said) but used as rough ideas of how
> > the pattern pieces would work.
> And why would you expect a pattern taken from a garment made
> especially for one individual in an era sans premade clothes to be
> more than a guide?

I've never personally used them as more than a guide. (I generally 
draft my own fitting pattern then do flat pattern combined with some 
drape drafting to make my patterns. I just lay the pattern out to 
make sure that it looks like the same shape as the original.) But I 
know that many sewers want to be able to enlarge it and use it pretty 
much as is.

> Still, it's easy to understand how some things get just plain wrong. I
> mean look at "The Cut of Women's Clothes"!
> 
> Still, these books are invaluable....IMHO of course.

Definitely invaluable. But one does have to keep one's eyes and mind 
open to the fact that no one is perfect.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Re: h-costume Digest, Vol 2, Issue 885
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At 10:01 AM 12/30/2003 -0500, Panther Grrl wrote:
>Margo, did I understand correctly?  Are the set of the second edition of
Elizabethan Lady's patterns available now? 

No, it will be a few more weeks.  I t could be less, once the good folks at
Mcall's  had patterns at my door less than ten days after sending the
files, but usually it's a three week turnaround.  

Margo

"One Tough Costumer"

www.margospatterns.com
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	loosegown	sleeve-anyone else tried it?
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> [Sg] Yes, I just draped and drafted the inner sleeve.  And I do
> understand that there is a cuff.  After fiddling with it awhile, I
> noticed that her pattern makes a more rounded puff than the drawing
> would indicate (it is more like the actual garment).  Her drawing
> looks more like something in between the very rounded sleeve cap and
> the stylized drawing (woodcut?) of the Belgian woman.

Go with what looks like the real thing, even if it isn't what her 
pattern came out. It sounds like you at least have the idea.

> "She didn't actually draft all those patterns, let alone try them out.
> After a lecture she did, several of us asked about the patterns. She
> said that her grad students often did the drafting and that she didn't
> have time to check them all. There are *many* errors throughout the
> patterns." 
> 
> [Sg] It is odd that she doesn't mention that specifically in her
> intro. (Other than thanking many people)

>From what I've noticed, that's pretty common with some academics. She 
was saying that they didn't need to be mentioned because they are 
getting their degree in lieu of that sort of thing. (It's been many 
years, but that's the gist of what she said. I've heard the same 
thing from some others as well.)
 
> She actually did sew. But the patterns weren't meant to be blown up
> and used (according to what she said) but used as rough ideas of how
> the pattern pieces would work.
> 
> [Sg] Hmm, I can understand that they couldn't be used as is and would
> have to be fitted, but what is the point of providing to scale
> drawings...?

I think that the "scale" is to give you an idea of the proportions, 
not to use for blowing up the pattern to make into a garment for 
someone else.
 
> When it is all said and done, I am very grateful for the drawings.  I
> am at point in my own drafting and draping that I am able to just do
> it on my own. I guess I feel sorry for those who are just starting out
> who try to use the patterns.  If you don't have confidence in your own
> abilities, you might walk away thinking there was something wrong with
> you!

But the obverse of that coin is when you draft it for yourself, then 
lay out the pattern and notice that the shape is just like you see in 
Alcega, Buergen or the like. Or that what you make succeeds in 
looking just like the portraits and extant garments.

It is tough to try doing garments of this sort when you are just 
starting to learn how to make Rennaissance clothing. Even with good 
patterns, it is sometimes difficult if you want it to be done with 
non-modern lines. Even with excellent patterns like the ones that 
Martha does, sometimes you need to do alterations to make them fit 
correctly. Many people don't have the ability to fit anything more 
complicated than a t-shirt. 

Kat
<kat@redtrollforge.com>


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Date: Tue, 30 Dec 2003 16:15:47 -0800
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Subject: Re: [h-cost] Robert Trump books-where can you buy them? Was Loose
	Gown	Sleeve
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> [Sg] How do you buy his books?   I thought they were not in print?

They are still put out by Alfarhaugr press which is out of Eugene 
Oregon. They are pretty much an "on demand" printer, meaning that 
they print up a run when they get enough orders. The address in the 
front of my Doublet and Trunkhose book is:
Alfarhaugr Publishing Society
1908 Oak Street 
Eugene OR 97405

I know that the person who used to handle it (and was instrumental in 
getting so many of Bob's books done by them) has a real job now so 
isn't doing as much as she used to. I think she handed it off to 
someone else. She sometimes reads this list, so she may be able to 
say if I've got the wrong address.

Kat
<kat@redtrollforge.com>


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From: Kirrily Robert <skud@infotrope.net>
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Subject: [h-cost] 17th century poodle hair
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I'm attending an event set in 1638, in a week and a half, and I want to
do my hair like this:

http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar4w.jpg
http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar5w.jpg
http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar6w.jpg

I have a problem though - my hair is too long, too straight, and I don't
have the bangs in front.  I figure I can live without the bangs, but I
don't know what to do about the length.

I tried doing it with a curling iron today.  When I curled my hair it
still came to below my shoulders.  So I got some hairpins and kind of
hooked it up so it came to the right length.  But then I still found
that the curls I had were too ringletty and distinct, and not
fluffy/soft enough for the look in the pictures.

Has anyone ever done this hairstyle successfully, and if so how?

My hair is about nipple length, fine but lots and lots of it, and
slightly wavy.  I have a 1/2" curling iron, various styling products,
and a large collection of hairpins.

K.
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From h-costume-bounces@indra.com  Tue Dec 30 19:52:54 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 17th century poodle hair
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From: Kirrily Robert <skud@infotrope.net>
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And just to reply to myself...

I took photos during my experiments this afternoon, which I have put
here: http://elizabethangeek.com/katrowberd/oop/1638/poodle/

The cap I'm wearing is a "hollar" cap based on the pattern in Kass's
"Reconstructing History" set of patterns for 17th century caps.  I need
to figure out how to stop it sticking out sideways so much.  Here's what
it's meant to look like:

http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar25w.jpg
http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar26w.jpg
http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar28w.jpg

I think perhaps the lace would help weigh the edges down but I don't
have any lace I like for the purpose.

K.
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 17th century poodle hair
Date: Tue, 30 Dec 2003 20:17:11 -0500
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On Tuesday 30 December 2003 07:28 pm, Kirrily Robert wrote:
> I'm attending an event set in 1638, in a week and a half, and I want to
> do my hair like this:
>
> http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/holl
>ar4w.jpg
> http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/holl
>ar5w.jpg
> http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/holl
>ar6w.jpg
>
> I have a problem though - my hair is too long, too straight, and I don't
> have the bangs in front.  I figure I can live without the bangs, but I
> don't know what to do about the length.

Most of the mid-17th c. pics I've seen show at least 80% of the woman's hair 
fastened in a bun in back (either braided first, or not), and only a small 
portion of hair beside her face curled, or frizzed.

I doubt you could get the right effect with your hair alone unless you were 
willing to cut a few locks in the front much shorter than they now are.  

So I have two suggestions:

1)  Just fasten your hair in a bun in the back, put the Hollar cap on it, and 
don't worry about the lack of poodle curls (Yes, you'll be unfashionable, but 
I'm sure there were unfashionable women in period!)

2)  Check out a beauty supply store or two to see whether you can locate a 
couple of hair pieces that match your hair color and give the right look.

Good luck!


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Teena Paradise" <bkessinger@ureach.com>
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Subject: Re: [h-cost] 17th century poodle hair
Date: Tue, 30 Dec 2003 21:08:15 -0500
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You and I have the same problem even though we are doing different periods
(I do the curls from Florentine portraits). You and I have the same hair! My
Florentine looks a bit Victorian, but I am not going to cut my hair.

I liked the pictures where you pinned it. It isn't perfect, but I think it
looked well enough. :)

Teena

----- Original Message ----- 
From: "Kirrily Robert" <skud@infotrope.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 30, 2003 7:52 PM
Subject: Re: [h-cost] 17th century poodle hair


> And just to reply to myself...
>
> I took photos during my experiments this afternoon, which I have put
> here: http://elizabethangeek.com/katrowberd/oop/1638/poodle/
>
> The cap I'm wearing is a "hollar" cap based on the pattern in Kass's
> "Reconstructing History" set of patterns for 17th century caps.  I need
> to figure out how to stop it sticking out sideways so much.  Here's what
> it's meant to look like:
>
>
http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar25w.jpg
>
http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar26w.jpg
>
http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar28w.jpg
>
> I think perhaps the lace would help weigh the edges down but I don't
> have any lace I like for the purpose.
>
> K.
> _______________________________________________
> 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] 17th century poodle hair
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I liked the pictures where you pinned it. It isn't perfect, but I think it
looked well enough. :)

Teena

[Sg] I agree with Tina...I thought it looked pretty good!  Will it last
though?  My girl friend has wicked straight hair that doesn't hold a curl
for very long....
Sg

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Hi, All. Lisa, I would hope that a washtub could be gotten for less than 
that, especially since the ones shown were banded with steel, and not 
withy as would have been proper for you to use for 16th Cent. I know 
that iron banding was being done, as it shows up on ships manifests in 
the early 17th Cent. for things being shipped to the New World, but a 
coopered tub can be done with (slightly) slack coopering, letting the 
swelling of the wood close the gaps. I will look into some of my sources 
in Sweden, as we have some nicely coopered stuff at our site that was 
done there. I'm sure that, even with shipping, the cost won't be so 
much. You can occasionally find one at antique stores (where I got 
mine). There was once a fellow in my area that did any period coopering, 
but he doesn't do much anymore (Wroxall Cooper). Check around more, 
there has to be a better price... Mike T.


>  
>

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Subject: Re: [h-cost] 17th century poodle hair
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> [Sg] I agree with Tina...I thought it looked pretty good!  Will it last
> though?  My girl friend has wicked straight hair that doesn't hold a curl
> for very long....

Thanks!  Mine holds a curl pretty well actually, it has a bit of natural
curl at the worst of times, and I put some mousse in before curling it
for the poodle style, and even now, 6 hours later after brushing it out
thoroughly, it's still pretty curly.

K.
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Kirrily:

I would suggest rolling the back in a bun, and with the front, try using a crimping iron and then brushing back a little, and spray, spray, spray.  Also, you might want to try rag rolling.  Afterwards, pin it like you did, that might give it a fluffier appearance.

Laura
"Never interrupt your enemy while he is making a mistake"  Napoleon Bonaparte
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Date: Tue, 30 Dec 2003 22:20:19 -0600
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] 17th century poodle hair
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Hi Kirrily,

Actually, if you can, put the hair beside your face up in rags and the rest 
back in a bun.  My hair is fine, slightly wavy and have lots of it, and is 
about 6" from my waist.  At CostumeCon, Drea did my hair in rags and it was 
in tight ringlets all day.  You don't even really need styling products, 
the curls just stay (I had trouble washing them out and my hair won't hold 
any other type of curl for more than 30 seconds).  They also have the added 
advantage of being comfortable to sleep in and non-damaging to your 
hair.  Good luck with it and have fun.

Cheers,
Danielle

At 07:28 PM 12/30/2003 -0500, you wrote:
>I'm attending an event set in 1638, in a week and a half, and I want to
>do my hair like this:
>
>http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar4w.jpg
>http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar5w.jpg
>http://www.costumes.org/history/17thcent/womensfashplates/hollarprints/hollar6w.jpg
>
>I have a problem though - my hair is too long, too straight, and I don't
>have the bangs in front.  I figure I can live without the bangs, but I
>don't know what to do about the length.
>
>I tried doing it with a curling iron today.  When I curled my hair it
>still came to below my shoulders.  So I got some hairpins and kind of
>hooked it up so it came to the right length.  But then I still found
>that the curls I had were too ringletty and distinct, and not
>fluffy/soft enough for the look in the pictures.
>
>Has anyone ever done this hairstyle successfully, and if so how?
>
>My hair is about nipple length, fine but lots and lots of it, and
>slightly wavy.  I have a 1/2" curling iron, various styling products,
>and a large collection of hairpins.
>
>K.

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Subject: Re: [h-cost] Question on fur usage (12-14th cen, Tudor,
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At 11:05 AM -0500 12/29/03, Kathy Page wrote:
>There is an exant seal skin pair of breeches from the Viking era:
>
>http://www.viking-experience.co.uk/authenticity/basickit/basickit6.html
>
>Look for the Greenland breeches. Other than that, I would suspect 
>that the typical usage of seal fur would be like beaver and other 
>water mammals - hats, cloak linings, etc.

The skin breeches I see on that page are the polar-bear skin ones 
given in Hald -- am I missing another mention somewhere?  I'm a bit 
surprised to see the polar bear skin ones suggested as a model for 
Viking clothing.  Hald includes them as comparative material in her 
discussion about the possible evolution of the trouser cut seen in 
several Iron Age garments, but the skin garment itself is of native 
Greenlander, not Viking, origin.  In fact, I don't see any indication 
that it's a medieval survival, as opposed to something collected in 
more modern times.  (She includes a number of modern "traditional" 
garments in her comparative discussions, so the question is open.) 
If you follow Hald's reasoning, she's suggesting that a handful of 
garments from the first couple of centuries of the common era may 
have inherited their particular cut from even earlier styles made 
from skins, where the cut was retained when the reason for it had 
been lost.  This would put this hypothetical northern European 
skin-trouser style even earlier -- and even farther away from the 
Viking era.  I wish that the Viking-Experience page mentioned a few 
of these issues, rather than giving the impression that these are 
"Viking polar bear skin trousers".

Heather
-- 
*****
Heather Rose (you may now call me Doctor) Jones
hrjones@socrates.berkeley.edu
*****
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] 17th century poodle hair
Date: Wed, 31 Dec 2003 00:32:25 -0800
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a 1/2 inch curling iron is quite large.  I'd look for smaller rollers, 
or I'd trying using rag curls (and pinning back most of it, as 
suggested by others).


On Dec 30, 2003, at 6:55 PM, Kirrily Robert wrote:

>> [Sg] I agree with Tina...I thought it looked pretty good!  Will it 
>> last
>> though?  My girl friend has wicked straight hair that doesn't hold a 
>> curl
>> for very long....
>
> Thanks!  Mine holds a curl pretty well actually, it has a bit of 
> natural
> curl at the worst of times, and I put some mousse in before curling it
> for the poodle style, and even now, 6 hours later after brushing it out
> thoroughly, it's still pretty curly.
>
> K.
> _______________________________________________
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Subject: [h-cost] Rag curls?? was:17th century poodle hair
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Hi,

What are rag curls??

Greetings,
        Deredere




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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair
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Yes, I was curious about that , too---
Albra

Deredere Galbraith <triade@kabelfoon.nl> wrote:
Hi,

What are rag curls??

Greetings,
Deredere




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Di wrote:
 
....but keep in mind Veronica Franco was a Courtesan.  She was born in 1546, died 1591.   A somewhat romantic movie about her life  called Dangerous Beauty is worth watching. I personally can not locate the pictures or the artist you have found.  It is reasonable to think these were sketched at a later date.....
 
Been there, read the book, seen the movie, discussed it in detail. One of my personas in the SCA is a Venetian courtesan, hence the purpose of my research. On an OT note, I am writing a story based on my research on this period of history in the Veneto. (which is where my persona sprung from, really)
Forgive my confusing everyone by listing 4 engravings, but giving details on two. The pair of engravings I listed urls for, I don't know who created them, just when, and that is only the beginning of my issues with them. Giacomo Franco (that I am aware, simply a coincidence of names, not related to Veronica) is the artist for the engravings found in QEWU, and they too, are dated within the late 1500's, giving credence to this ruff/collar existing in period. I would hazard that they are ALL Franco's work, the style, appearance and repetitive poses of the figures all look much the same to me.
Yes, it does seem that the one from the Terze Rima is an updated portrait of Veronica. Her real age and the appearance of her in this don't match. Likely the artist updated the fashion and stuck a younger face on the body. I have a scan of the two others in question, and I will try to upload them so you can see all four that I am talking about, so my meandering verbosity starts making more sense. :-)

Bjarne wrote:

....Not knowing the artist, but it is towards 1600 (my guess)....

Yes, the Terze Rima engraving is dated 1576. The other - offhand, I can't remember, but I know that it's in the same ballpark.  I had to give QEWU back to the library 2 days ago (drat!* see below) and it dated the Franco engravings to 1610. 

*If anyone who has a copy of that book could do me a favour, I need the source quotation for the tailor's shop woodcut. I found it here so it can be matched-  http://renaissance.dm.net/compendium/art/tailor.jpg I forgot to write it all down before returning the book. Thanks!

.....My guess would be that it could be embroidered pattern, and maybe also beaded pattern. I dont think it would have ben other colours than 
white, like the pointed lace wich goes in the edge of the standing collar. The lace also has spangels attached in the points, these could be silver or gold. It was much used to add spangels into lace. It was worked into the lace, while making the lace.....


There's dozens of possibilities, just in native decorative needlework alone. I had originally had it down to smocking because of the lozenge pattern, but that is far too bulky. I had it down to some sort of pullwork or filet/lacis of some variety. I think I could go either way with it, really. I had planned on working in black pearls into the lace along the neckline of both the ruff/collar and the partlet. I doubted the monochrome/polychrome option as well.

....As i told you earlyer, this is a wired collar. There is wire sewed all 
along the edge where the lace is attached. It would have ben starched as well, so that it gets as stiff as possible, to stand alone....

That's what I said too, the first time I saw it. It reminded me of this: http://www.farthingales.on.ca/elizabethan_wired_ruff.html But debate on another message list had me convinced otherwise. There was a valid point made though, when one brings in painted portraiture from that same era, we see a very different brand of collar/ruff. 
http://realmofvenus.renaissancewoman.net/wardrobe/Lido1574.jpg
http://realmofvenus.renaissancewoman.net/wardrobe/RobustiWhite.jpg
http://realmofvenus.renaissancewoman.net/wardrobe/Montemezzano2.jpg

I had found a couple of bits from the French de Medicis (Marie and Margot in particular) that rang very familiar to the engraved collar which gave life to my theory that it is a French import. Since I am unable to locate a convienient repository of French portraiture, I am having difficulty proving my theory. Those shown above, though, makes it look like the engravings are misdated to post-1600. 

....Corset there is, definately!...

I agree.... but what shape would it take, given the ample real estate showing in the decolletage? My best opinion is an underbust cincher sort of affair, but that would sit hard on the hips and would dig particularly once the weight of the gown was on it. I just can't explain how the weight would be distributed to make it comfortable.

....I am no expert for this period, but i would say yes, it would be parted 
in bodice and skirt....

That's what I said, but like you, I am more of an expert in later eras, so come to those who know more than I for advice.

...Do you mean that you would make the lace for yourself?...

Yes, I have taught myself punto in aria, and plan on giving that a crack for the cuffs at the very least. I have been looking for documentable examples of it, and found this delightful repository of lace photos, but can't open them, much to my frustration. Go to google and search the images for _ricami_ and look for the photos listed at the doge.it site... they are wonderful, but google has cached them, and the site has, for whatever reason, taken them down. I have emailed them in hopes of getting more info, but it's a long shot at best.


Bobbin lace?I have a beautifull pointed renaissance pattern you could have, if you like!

I don't have the supplies right now for bobbin lace unfortunately. And, I have a 2 year old daughter that likes _helping_ Mommy by pulling pins out of projects - so bobbin lace is out until she's a bit older. :-)

Kat wrote:

....the cut of the garments is very definitely Italian. 
See _Vecellio's Renaissance Costume Book_, put out by Dover books for some engravings done at the time when Veronica Franco lived....

The dress itself, for certain it's Italian, that wasn't in question, just the ruff/collar. I _think_ I have a goodly portion of those engravings from various and sundry places, and am using some of them as reference materials. I really _should_ get the book however, to get proper dating. I believe though that I tripped on a French costume by Vecellio, and it bore a very familiar resemblance to the Italian. This however, isn't the be all to end all of proof, it could simply be the artist's familiarity with local fashion showing through.

....He doesn't show up in Artcyclopedia under that name, unfortunately. 
The book on Veronica Franco doesn't mention anyone named Giacomo 
Franco.....

I hope I clarified the confusion earlier in my post. Giacomo's work is dated to 1610, not the 1576 of the Terze Rima.


...The partlet was probably white but the weave was often times very 
ornate and could be embroidered as well, which would give it more 
texture. I suspect that the engraver was trying to capture a texture 
rather than a different color. The partlets of this type tend to be 
white, not colored....

That's what I thought too, also my current theory that the partlet not only covered up skin, but also gave support to the bustline. Lace of any kind would need a backing of some type to handle that kind of stress on it for any length of time. 

....There are several types of supportasses in this period. Some were of 
wire and were separate from the ruff and partlet. They were designed 
to fit under the clothes and sometimes to lace to the clothes 
themselves (not with "lace" but with lacings.) Some were silk covered 
pasteboard (such as the ones in the V&A in London.) Those would 
usually be laced to the dress in the back....

As the one I showed earlier is designed. The portraits I later showed in this post, one is loose and more informal obviously not supported by much other than the shoulders (Montemezzano), the others (Lido and 
Robusti) are stiffened and lifted from the shoulder at a low angle, which is why I wondered. I did find a French bit that showed the supportasse, but it is a Racinet, and thus highly questionable. 

...This contributed to the odd shape that the dresses in Italy (compared to the rest of Europe) of the time had....

That would explain why although they are large yet not _rolly_, referring back to my assertion that the padding intended to create the peascod shaping also muffled the fluffiness of the wearer. Still though, I have a hard time figuring out how they supported the breasts with essentially nothing? There has to be something holding them in place, the bodice rides far too low to give any real lift, that I can see. 

...As to a shoulderstrap, I suspect it is there but hidden by the floofy 
stuff....

The dress had a shoulderstrap, it's the corset that I am wondering about. Apparently Alcega's book has a suitable pattern in it for this variety of bodice and it shows a shoulderstrap, it just tends to disappear in the profusion of do-dads attached to the shoulders. 

....But the "dress" seems to be more common....

Im still trying to get a hold of a copy of these books for my permanent collection. At least I know that it wasn't implausible, just unlikely. 

....See Margaret Abegg's _Apropos Patterns_, Anne Kraatz _Lace History and Fashion_, Janine Montupet and Ghilsaine Schoeller's _Lace The Elegant Web_, and Santina Levey's _Lace A History_....

Thank you for these references, I'll have a go at finding them.

....Netting is seen in partlets but usually not filled in like you see 
with fillet lace (which it sounds like you are learning). And they 
tended to be of larger thread (large enough so that you can see the 
knots in the gold thread.) Most of the fillet lace type of netting 
seems to be more for home decoration.....

That is what I am learning, yes. Having discussed it with an experienced filet lace maker, she suggested something akin to crochet cotton. She also asserted that it't not gold thread because it would wreak havoc during the knotting process. Perhaps it was spangled at the knot, like Bjarne suggested? Or simply a gold coloured silk thread? Looking at the Montemazzano painting, her partlet could go one of two ways IMHO- filet lace or pullwork, due to its repetitive square-like pattern. 

.....Sounds like you are going just as deep as many of us on this list 
tend to do. You'll probably get several different opinions on things 
unless people are too busy with their "non-list" lives.....

That's okay, I welcome it. I firmly believe that my opinion isn't the only one, just as long as other opinions have proof. ;-) LOL Really, though, I prefer having several opinions, then whittling away at them until there seems a general consensus on what was _most likely_. A lot of my work tends to head into the experimental archaeology because I go out of my way to find things that haven't been done, or so rarely that it begs further exploration. I'm just stubborn that way. :-)

CarolynKayta wrote:

...Also, as I recall,  wasn't Elonora of Toledo found to have been buried in an actual corset?  OK, not Venetian but close....

Not quite, but yes, there were _stays_ found on her. There was no apparent stiffening other than the velvet fabric, rather like a tightly laced under kirtle from other periods in terms of body shaping. Yes, not Venetian, but that extant costume, along with Alcega's patterns have been adopted as suitable basis for Venetian based, portrait-supported repros.

....I don't think they could/did wash these garments, one piece or two.....

My thought was the situation of a hemline getting dirty, but that topic was discussed above. Not to mention that the hems were well out of harms way while wearing chopines.  My thinking was more modern than not. By the time I am finished with this dress, washing it will be rare, despite the durability of the fabrics involved.
Kathy

You talk too much, you laugh too loud, that's the price of love. ~ Brian Ferry ~


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Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair
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Rag curling is when they use strips of cloth to wrap your hair around (like 
rollers).  Your hair could be wet or dry (wet is better for setting 
long-lasting curls, but not always necessary).  You then take a strip of cloth, maybe 2" 
in diameter, 6-8" long, and roll your hair up around the rag, tying it off at 
the top of your head.  If you want larger diametered curls, use wider strips.  
This is what they used for centuries.

Laura
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair
Date: Wed, 31 Dec 2003 08:45:05 -0800
To: Historical Costume <h-costume@indra.com>
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Sadly, the site with the best pictures is now gone (Marci's retro 
hair!) but here's a good description:
http://www.hairboutique.com/tips/tip049.htm


On Dec 31, 2003, at 8:07 AM, KATHRYN WOLTERS wrote:

> Yes, I was curious about that , too---
> Albra
>
> Deredere Galbraith <triade@kabelfoon.nl> wrote:
> Hi,
>
> What are rag curls??
>
> Greetings,
> Deredere
>
>
>
>
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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Wed, 31 Dec 2003 08:50:37 -0800
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Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair
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> What are rag curls??

Rag curls are those made by using rags as the "hair roller". A 
similar effect can be made by using the foam type of hair roller (as 
opposed to the rigid types.) 

Basically, you wind the long hair over the roller when it is wet (or 
use "product". We used the old "DippityDo"), and tie the rag to 
itself and let it dry. When you take it down you get sausage curls 
until you brush them out. Once it's brushed out it looks more wavy.

I once did it in college and left the rags in too long. I ended up 
looking like I had a lion's mane because the curls had become so 
tight that it wouldn't relax enough even when I brushed it. (The 
humidity was very low, or even after 2 days in curlers it wouldn't 
have done that.) When it needed to be washed, I had to wet it little 
by little to keep it from making rasta-locks. (Of course, in 1973 we 
really didn't know all that much about rasta-locks.)

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair
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The site below has instructions for doing rag curls.  Looks easy enough.
                -Helen/Aidan

http://www.nocturne.com/swing/hair/rag-curlers/rag-curlers.html


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Lisa Sinervo wrote:

>I'm passing on book buying at the moment as I need a good washtub for my starch house re-creation (Yes, I'd still like to do a tailor's shop but that I'm going to have to grow into - I'm starting smaller).  Beaver buckets http://www.beaverbuckets.com/WashTubs.htm has a very nice oak washtub for $250 - yes I do need to diet!!! But I was wondering if anyone has ever used such a tub before.  Anyone know of any better prices?  I would like a nice quality one.  
>
>  
>

http://www.5rivers.org/ ?

liz young


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Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair
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I did that in high school once except it was pin curls, not rag curls. Oh
my! My hair is so thick that I looked like Rosanne Rosannadanna!
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 31, 2003 11:50 AM
Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair


> I once did it in college and left the rags in too long. I ended up
> looking like I had a lion's mane because the curls had become so
> tight that it wouldn't relax enough even when I brushed it. (The
> humidity was very low, or even after 2 days in curlers it wouldn't
> have done that.) When it needed to be washed, I had to wet it little
> by little to keep it from making rasta-locks. (Of course, in 1973 we
> really didn't know all that much about rasta-locks.)
>
> Kat

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Subject: [h-cost] Rag Curls...
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My grandmother taught me to make rag curls, and my hair is waist length. Her method was tough for me as a beginner, so here is a modified 'beginner's' method;
1.)I do this at night, but I know it won't be dry the first morning (length/thickness of hair),
2.)Wash and dry your hair until it is damp,
3.)Start out w/ a long strips of cotton fabric/ribbon, and a pencil,
4.)Place one strip of cotton fabric along the pencil, and roll small sections of your hair around the pencil and fabric and up as close to your head as possible,
5.)Tie the two ends of the cotton ribbon together, in a bow or something that will survive the night
6.)I need to leave mine for anther day, so I use a nice velvet solid snood,
7.)When unraveled, its absolutely gorgeous, rippling curls down to just past my shoulders. The lovely spiral curls too...


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair
To: Historical Costume <h-costume@indra.com>
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Thanks for the link , Heather. Nature has certainly  NOT given me everything I could wish for---butShe did give me lots of curl. So, I had'nt really paid too much attention to 'how to get curls' before:)
Albra
 

Heather Meadows <alice@wonderland.com> wrote:
Sadly, the site with the best pictures is now gone (Marci's retro 
hair!) but here's a good description:
http://www.hairboutique.com/tips/tip049.htm


On Dec 31, 2003, at 8:07 AM, KATHRYN WOLTERS wrote:

> Yes, I was curious about that , too---
> Albra
>
> Deredere Galbraith wrote:
> Hi,
>
> What are rag curls??
>
> Greetings,
> Deredere
>
>
>
>
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Date: Wed, 31 Dec 2003 13:01:33 EST
Subject: Re: [h-cost] Rag curls?? was:17th century poodle hair
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There's a story about Haydn [yes, I mean the 18th century composer], who's 
married life was not one of bliss. Think Mr. and Mrs. Bennet in "Pride and 
Prejudice".

Anyway, Papa Haydn awakes one morning to discover Madam Haydn has torn up 
some of his manuscripts to curl her hair. Paper being rag back then you can see 
how with pins it might be used to make cylindrical curlers.

There's a vocal quartet composed by Haydn in 1786 entitled "Die Harmonie in 
der Ehe". The music about the harmony of married life is more than a little 
ironic.
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Date: Wed, 31 Dec 2003 12:17:14 -0600
From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Rag Curls...
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Panther Grrl wrote:

> My grandmother taught me to make rag curls, and my hair is waist length. 

What does that take? About 4 hours? The last time I had my hair set it 
took that long, as mine is also waist length and very full. When it is 
only to the middle of my back I can get it in large modern rollers in 
about an hour.

Unfortunately, that's all the longer it stays curled, too. :/

Setting hair the old fashioned way really brings home how labor 
intensive getting ready for an important social event was before the 
advent of electric curlers.



Dawn



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