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Subject: Re: [h-cost] Re: self sufficiency
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In a message dated 1/31/2004 7:39:31 PM Eastern Standard Time, 
gailscott@eos.net writes:
the idea of self-sufficiency is pretty powerful in the USA, and quite
romanticized
Laurel Thatcher Ulrich writes about the "myth of homespun" in her "Age of 
Homespun."  Yes, it is pretty pervasive, and of long standing.

Ann Wass
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From: Vicki Betts <vbetts@gower.net>
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AnnBWass@aol.com wrote:

> Laurel Thatcher Ulrich writes about the "myth of homespun" in her "Age of
> Homespun."  Yes, it is pretty pervasive, and of long standing.
> 
> Ann Wass

Homespun as political symbol has an interesting history, from
Revolutionary War to War of 1812 to Nullification Crisis to Civil War
South.  It gets picked back up as a counter-culture symbol in the 1960s,
and there are probably other uses that I'm not familiar with.  I've
researched homespun as a political symbol for the South in late 1860
through 1861, and then as a matter of practicality and necessity for
some from the winter of 1862/1863 through the end of the war.  At that
point it was not a matter of fad or even choice for many who were unable
to purchase factory-woven fabrics from Southern mills or those that had
come through the coastal or land blockades.  Still, most grown-ups of
poor to moderate means managed to keep their prewar "good silk dress"
even if it had begun to fade or had to be patched, even if they resorted
to purchased/bartered/made themselves homespun for the hard working day
to day wear.

If anyone is interested in how common homewoven fabrics were just before
the war in the South, take a look at the introduction to the
manufacturing census of 1860 and the category of "home manufactures" in
the agriculture census.  Also flip through the Tennessee veterans
questionnaire for answers to the question "what were the duties of your
mother."

One of my favorite quotes comes from Frederick Law Olmsted in his _The
Cotton Kingdom_ (1861)--"How is it that while in Ohio the spinning-wheel
and hand-loom are curiosities, and homespun would be a conspicuous and
noticeable material of clothing, half the white population of
Mississippi still dress in homespun, and at every second house the wheel
and loom are found in operation."

If anyone is interested in Civil War era newspaper articles about
textile production in the South, I have a file at:
http://www.uttyl.edu/vbetts/homespun_intro.htm
My bibliography is also there.

Please note that I'm NOT claiming that every household was
self-sufficient, nor that the South was self-sufficient.  This is just a
side angle off of the homespun topic.

Vicki Betts
vbetts@gower.net
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Greetings to one and all,
   
   I hope someone can help me out.  I have bought some brass findings 
that can hold glass cabachons or cameos or even natural stone cabs.  I 
know where I can get cameos and the natural stone cabs, but I can't find 
the glass, flatback cabs.  I have hunted on Ebay and even on the net. 
 Does anyone know of a good source for these glass cabs?

Roscelin


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In case anyone is interested, The "Cyrano de Bergerac" with Gerard 
Depardieu...that won the Oscar for best costume [they are yummy] is due to be released 
on DVD in February.
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From: Robin Netherton <robin@shell.nightowl.net>
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On Sun, 1 Feb 2004, Roscelin wrote:

>    I hope someone can help me out.  I have bought some brass findings
> that can hold glass cabachons or cameos or even natural stone cabs.  
> I know where I can get cameos and the natural stone cabs, but I can't
> find the glass, flatback cabs.  I have hunted on Ebay and even on the
> net.  Does anyone know of a good source for these glass cabs?

I used to get these in sizable packages in craft stores such as Michael's
or MJ Designs, maybe even Jo-Anns. They're sold as "glue-on jewels" or
something like that, and they typically hang on the wall with other
jewelry findings. I probably have a bunch of packages somewhere in my
stash; I remember having to buy several packages just so I could pick out
the red ones to use in a particular costume. If you need a color other
than red, and not huge quantities, email me and I'll dig them up.

--Robin

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Score! I loved that one...it and "Restoration" are my two favorite 17th 
c. costume flicks.
--sue

AlbertCat@aol.com wrote:

> In case anyone is interested, The "Cyrano de Bergerac" with Gerard 
> Depardieu...that won the Oscar for best costume [they are yummy] is due to be released 
> on DVD in February.


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Seeking glas
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FireMountain, maybe? I know they at least have the natural stone cabs, 
but I also seem to recall some composite and others as well....
--sue

Roscelin wrote:
> Greetings to one and all,
>     I hope someone can help me out.  I have bought some brass findings 
> that can hold glass cabachons or cameos or even natural stone cabs.  I 
> know where I can get cameos and the natural stone cabs, but I can't find 
> the glass, flatback cabs.  I have hunted on Ebay and even on the net. 
> Does anyone know of a good source for these glass cabs?

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To: Historical Costume <h-costume@indra.com>
From: Mary Taran <marytaran@verizon.net>
Subject: Re: [h-cost] Seeking glas
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At 02:24 PM 2/1/04, you wrote:

>On Sun, 1 Feb 2004, Roscelin wrote:
>
> >    I hope someone can help me out.  I have bought some brass findings
> > that can hold glass cabachons or cameos or even natural stone cabs.
> > I know where I can get cameos and the natural stone cabs, but I can't
> > find the glass, flatback cabs.  I have hunted on Ebay and even on the
> > net.  Does anyone know of a good source for these glass cabs?
>
>I used to get these in sizable packages in craft stores such as Michael's
>or MJ Designs, maybe even Jo-Anns. They're sold as "glue-on jewels" or
>something like that, and they typically hang on the wall with other
>jewelry findings. I probably have a bunch of packages somewhere in my
>stash; I remember having to buy several packages just so I could pick out
>the red ones to use in a particular costume. If you need a color other
>than red, and not huge quantities, email me and I'll dig them up.
>
>--Robin

www.firemountain.com has cabs in both glass and real stones.  You don't 
have to buy them in assorted colors.

Mary 

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Robin Netherton wrote:
> I used to get these in sizable packages in craft stores such as Michael's
> or MJ Designs, maybe even Jo-Anns. They're sold as "glue-on jewels"

Alas, these days they're some sort of plastic, usually.  There's an odd 
place in Providence RI where you can get glass cabs and very nice cab 
sets with multiple prongs (not just the 3/4/5 sort) but they aren't on 
the web in any useful way.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

They that can give up essential liberty to obtain a little temporary 
safety deserve neither liberty nor safety. - B. Franklin, 1759
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In a message dated 2/1/2004 1:34:59 PM Eastern Standard Time, 
vbetts@gower.net writes:
Frederick Law Olmsted
I'm not familiar with this work, but I have read some of his others.  He was 
hardly an unbiased observer--definitely had his point of view, and seems to 
have looked for evidence to support it.  Then again, that could be an accurate 
observation of Mississippi.

Ann Wass
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AnnBWass@aol.com wrote:
> 
> In a message dated 2/1/2004 1:34:59 PM Eastern Standard Time,
> vbetts@gower.net writes:
> Frederick Law Olmsted
> I'm not familiar with this work, but I have read some of his others.  He was
> hardly an unbiased observer--definitely had his point of view, and seems to
> have looked for evidence to support it.  Then again, that could be an accurate
> observation of Mississippi.

Yes, Olmsted certainly had an agenda.  I sometimes wish I could have
been in his pocket as he traveled across the South in the 1850s, just to
see if I saw the same things he did.

Well, here's another quote--different person, different state:
"I found the East Tennesseans a plain, honest, industrious,
old-fashioned people. . . . They are dressed, almost without exception,
in coarse, strong "domestic," as the home-manufactured cloth of the
country is called.  It is woven on hand-looms, which are to be found in
nearly every farm-house.  Domestic is, in fact, an institution, not of
Tennessee alone, but of the entire Southern country.  In the absence of
manufacturing establishments, the interest in this primitive private
industry has not been suffered to decline.  It stood the South in good
stead during the war.  All classes wore it.  Even at the time of my
visit, I found many proprietors of large estates, the aristocrats of the
country, wearing garments which had been spun, colored, and woven by
their own slaves.
--Trowbridge, J. T.  A Picture of the Desolated States; and the Work of
Restoration, 1865-1868. Hartford, CT:  L. Stebbins, 1868, p. 243.

When it came to the Agriculture Census of 1860, I took the figure for
home manufactures, which, according to Tryon's _Household Manufactures
in the United States, 1640-1860_ is mostly textiles, and figured the per
capita production for every Southern county in 1860, and compared each
with the national average.  I marked maps for only those counties that
produced at least four times the national average, and large sections of
the mountains and wiregrass were colored in (some counties went over
10x).  Looking at the Tennessee Veterans Questionnaires, out of the
first 200 former Confederates who responded (who would have been born
mostly 1838-1845 and so remembering the late 1850s and early 1860s), 69%
remembered their mothers weaving.   Some specifically talk about
clothing; some don't say.  The former federal soldiers, mostly from East
Tennessee, had slightly higher figures.  That's been the challenge in
this particular project--how do we quantify home textile production. 
Newspaper articles are easy to discount as so much rah-rah. 
Reminiscences may be over-glorified.  Letters and diaries are great, but
are slanted to the literate with time and paper on their hands.  So the
problem remains--how much homespun for clothing was produced?  how much
was storebought?  My opinion is that there was a mix in large sections
of the antebellum South, particularly the mountains and wiregrass, with
Sunday best being storebought.  The war caused a temporary upsurge in
homespun production with those who knew how (rural, often older)
teaching those who didn't (younger).  Urban folk, a relatively low
percentage of Southerners, especially after the quick fall of Nashville,
Memphis, New Orleans, Alexandria, and Norfolk, seemed to perhaps have
more clothing and recycled it more, plus very expensive blockade goods
seemed to gravitate to the urban areas. 

I'm sure the Renaisannace, Restoration, and Regency folks have their
eyes glazed over by now ;-), so I'll quit.  It's just that after being
told that homespun was basically dead in America after 1840, I kept
running into it and it caught my interest.

Vicki Betts
vbetts@gower.net
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Just keep in mind that Cyrano was written at the very end of the 19th
century. Yes, it takes place in the 17th C, but it's firmly in the Romantic
period and style, not at all written like a 17th C play.
Though costume-wise, that really doesn't matter at all :-)

----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, February 01, 2004 6:05 PM
Subject: Re: [h-cost] Cyrano


> Score! I loved that one...it and "Restoration" are my two favorite 17th
> c. costume flicks.
> --sue
>
> AlbertCat@aol.com wrote:
>
> > In case anyone is interested, The "Cyrano de Bergerac" with Gerard
> > Depardieu...that won the Oscar for best costume [they are yummy] is due
to be released
> > on DVD in February.
>
>
> _______________________________________________
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] 15th/16th cent. Transition Gown
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Pursuant to a discussion about sleeve styles, Janet wrote:

> I don't know whether anyone answered this because I was without e-mail
> for the past 2 weeks, but just a couple days ago, I came across a
> donor portrait in a book I have.  Fortunately, the Met has it on line:  
> http://www.metmuseum.org/collections/view1.asp?dep=11&item=49%2E7%2E20a%96c
> 
> I'd seen this style on saints and in tapestries, but this is the first
> time in a portrait.

It's worth noting that the woman in this case is being presented as St.
Catherine. I say "being presented as" because she didn't start out that
way. The painting has a bizarre history. (It's so interesting that I use
it as an example of odd cases in my lecture on using religious figures as
costume sources.)

On the left panel, the standing figure is Saint Jerome, whom we know by
his lion and his cardinal's vestments. The standing figure on the right is
... hmm, the website says Saint Leonard, which makes no sense as far as I
can tell, but my Met catalog has him as Saint Vincent, who is typically
represented as a deacon holding a book. OK, leave that one up for grabs,
but a saint either way. Now look at the kneeling figures -- the ones that
look like donors. If you look closely, you see that near the man's knees
there's a pig, and the lady has a crown, a wheel, and a sword --
identifying them as Saint Anthony and Saint Catherine.

But they *do* look like donors, and the Met site even labels them that
way. Here's the rest of the story, from my Met catalog:  The figures were
originally painted as donors, and the saints' attributes were added after
the painting was finished -- and not long after, maybe only a few years
later.

There are a lot of possibilities for how this might have happened. Maybe
it was done at the request of the donors themselves, or their heirs. Maybe
the original donors didn't pay, or the painting was sold, and the new
owner had the now-meaningless donor portraits redone as saints.

Obviously, though, the transformation was not very successful, because
they do *look* like donors, in part because they're kneeling, and in part
because their clothing is not right for the saints they've been turned
into. Anthony was a monk and a hermit, and is almost always shown in a
monk's robe. This man's robe is dark, but it's quite lush, with fur trim
and full, slit sleeves -- not at all a monk's robe. Catherine is a royal
virgin martyr, and normally portrayed as a young princess (flowing hair,
royal robes). This woman has a headdress suitable for a married Flemish
woman. I also am inclined to think that her outfit, which is not at all
Catherine-like, is original to the donor portrait, but it may have been
gussied up in some way, perhaps by the addition of the sleeves. I'd have
to spend a lot more time with David's work to get a sense of whether he
might have reasonably included sleeves of that style in a donor portrait
-- or whether they're more likely to have been added with the other
attributes.

--Robin


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In a message dated 2/1/2004 9:34:57 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> Yes, it takes place in the 17th C, but it's firmly in the Romantic
> period and style, not at all written like a 17th C play.
> 

I think the film treats it almost like opera. Big and beautiful. Hundreds of 
well dressed extras in the rain....armor and horses and cannon...and fire. 
Streets full of people and animals....thunderstorms...and of course sword play. 
And the period is pushed a bit late so that 14 years later Roxanne can wear a 
mantua. I find all this to work quite well on film.
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Subject: [h-cost] fan handles
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Does anyone know of a source for purchasing fan handles?  I am working 
on a dress for Costume Con, and I need a handle that approximates the 
17th century so that I can make a feather fan.

Karen

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Date: Sun, 01 Feb 2004 21:35:33 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] "Self Sufficiency"
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Here in California one can still (January, 2004) find flour in printed 
cotton sacks, mostly in Mexican grocery stores.  The sacks are not so 
coarse that the flour leaks out but not that fine either.  The prints 
aren't very complicated or (IMHO) very pretty.

>Argh!  I mis-remembered.  It *was* chicken feed sack clothing that she
>was researching.  I knew that printed cotton feed bags used for clothing
>was common in the South from the Depression era on into the War (at
>least), but I hadn't realized that it was also common that far North.
>The grad student didn't mention when it ended, or at least I assume it
>ended.  All I see nowadays are 50 lb. paper bags.
>
>Vicki Betts
>vbetts@gower.net
>
>Cynthia Virtue wrote:
>
> > During the war, my mother's family kept chickens, and chicken feed also
> > came in patterned fabrics which were made into blouses, etc, for
> > everyday use.  My mother recalls her mother sending my grandfather back
> > to the store to return a sack with a print she didn't like.
> >
> > This was suburban Maine, more or less.


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

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

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This mostly-medieval & renaissance person has actually found it 
fascinating, but then the variety of topics is one of the things I like 
best about this list....
--sue, fiber geek for any century.....

Vicki Betts wrote:


> I'm sure the Renaisannace, Restoration, and Regency folks have their
> eyes glazed over by now ;-), so I'll quit.  It's just that after being
> told that homespun was basically dead in America after 1840, I kept
> running into it and it caught my interest.
> 

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fan handles
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>Does anyone know of a source for purchasing fan handles?  I am working on 
>a dress for Costume Con, and I need a handle that approximates the 17th 
>century so that I can make a feather fan.

Glue wooden beads onto a dowel, and paint the result?


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

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Subject: Re: [h-cost] fan handles
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Paint brush handles. remove the bristles. Have you seen
http://www.vertetsable.com/demos_fans.htm ?
=============================
On Ebay http://snipurl.com/3csb
http://my.lulu.com/kristalori
Elizabethan Ladies Calendar
Rolled Florentine Cap Pattern
www.swapking.com/hats
=============================
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, February 02, 2004 12:37 AM
Subject: Re: [h-cost] fan handles


>
> >Does anyone know of a source for purchasing fan handles?  I am working on
> >a dress for Costume Con, and I need a handle that approximates the 17th
> >century so that I can make a feather fan.
>
> Glue wooden beads onto a dowel, and paint the result?
>
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
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>
> _______________________________________________
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> h-costume@mail.indra.com
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>
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Hello

This is my first time responding to this group.

My husband turns fan handles.  Price is depending on the detailing and wood 
used.  They start at $10.00.

Regards,

Patrice Betancur
Jeronimo's Cross
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From h-costume-bounces@indra.com  Mon Feb  2 03:04:50 2004
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Bice,

These fans are so beautiful!!!!!!!!!  Thank you for sharing!

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
----- Original Message ----- 
From: "Bice d'Este" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, February 02, 2004 12:49 AM
Subject: Re: [h-cost] fan handles


> Paint brush handles. remove the bristles. Have you seen
> http://www.vertetsable.com/demos_fans.htm ?


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Roscelin <roscelin@pcez.com> wrote:
>    
>    I hope someone can help me out.  I have bought some brass findings 
> that can hold glass cabachons or cameos or even natural stone cabs.  I 
> know where I can get cameos and the natural stone cabs, but I can't find 
> the glass, flatback cabs.  I have hunted on Ebay and even on the net. 
>  Does anyone know of a good source for these glass cabs?

I was about to suggest General Bead, but their online catalogue doesn't
show any in stock right now.  The SF store usually has loads of them.
I see Swarovski cabochons in crystal, emerald, sapphire, crystal AB,
and siam in sizes 3mm, 4mm, 5mm, 6mm, and 8mm from Rio Grande.

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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Cynthia Virtue <cvirtue+dated+1091231722.bfebd6@thibault.org> wrote:
> Robin Netherton wrote:
> > I used to get these in sizable packages in craft stores such as Michael's
> > or MJ Designs, maybe even Jo-Anns. They're sold as "glue-on jewels"
> 
> Alas, these days they're some sort of plastic, usually.  There's an odd 
> place in Providence RI where you can get glass cabs and very nice cab 
> sets with multiple prongs (not just the 3/4/5 sort) but they aren't on 
> the web in any useful way.

D'oh.  I should've thought of this.  Look in the floral department.
There should be bags of of half-round pebbles.  You can usually get
them in different colors, including iris and aurora borealis finishes.
They're not quite as uniform as the glass cabs I more normally buy,
but if I need a whole lot of that particular size, you bet I go buy
a big bag for $3.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Need help on medieval fabric terms
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At 9:25 PM -0600 1/31/04, Robin Netherton wrote:
>A friend who is stranded without reference books asks for some help. I
>have bits and pieces of answers, but none that I feel confident enough
>about, or can source well enough. I'm much better with art than with
>terminology! If anyone can shed light on any of this, please post or
>email. Thanks.



>3. Do you know what the following are?
>
>  -- vert


"Green" -- the heraldic term for the color (taken from the French word).


>  -- silk palis


Is it possible that "palis" is a variant or derivative of "paile" 
mentioned above?  (My mind jumps to the possibility because Medieval 
Welsh borrowed "paile" as "pali".)


Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: Katy Bishop <vintage@shore.net>
To: Bjarne og Leif Drews <drewscph@post12.tele.dk>
Subject: Re: [h-cost] gentlemans embroidered waistcoat 1766
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Your work is inspiring!  I need to make the time to do an embroidered
dress one of these days.

I am currently repairing a dress from 1911, pale cream and blue
chiffon embroidered with roses in about 6 shades of pink and green
leaves.  The dress is so pretty and ethereal, I don't want to send it
back to its owner.

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: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] who is here-ROLL CALL
To: Historical Costume <h-costume@indra.com>
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Some lists I am on recommend regular roll calls with
your name, general location and area/time of interest.

I am in the SCA in the Barony of the Steppes.
Senora Catalina Saravia Quicedo lives was born in
Spain in 1501. Her best friend is a widow from France
who works with her in sewing. Her friend is trying to
teach her some basic embroidery. She occasionally
enjoys illuminations. And is usually found working
side by side with her husband, the Baron's Exchequer.




> 
> On Fri, 30 Jan 2004, Bjarne og Leif Drews wrote:
> 
> > I would like to know who is on the list at
> pressent time.
> 


=====
Seńora Catalina
Aurum peccamenes multifariam texit


	
	
		
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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Need help on medieval fabric terms
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Hey Robin...    Can you give me a date to work with?

I'll have to check through my Dutch and Italian references for this one... 
but I think...
you're on the right track... I'll have to get back to you on this
>1. Porpre / purpre / pupre :  these are variants for a term that is often
>translated as purple, implying the color.  But, if I remember correctly,
>it's usually a term for a fabric instead of a color (much like scarlet).
>Do you know what kind of fabric?  I'm thinking it's a kind of silk, but I
>know the term is probably a specific kind.  Also, would you have a
>reference (just one I can footnote--it can be a secondary source)  for it?


>3. Do you know what the following are?
>
>  -- vert  --   yeup... green...
>  -- silk palis  -  new term to me... I'll be interested to hear what 
> other folks have to say.

The draps de grana...   as you stated grana is the Italian,  and Spanish 
too (I think)  for grain dyed cloth.  Grain, kermes and cochineal were all 
scarlets.   Kermes gave the deepest scarlet and was the most 
expensive,  grana (grain)  was a common scarlet color not quite as pricey 
as kermes,  and close in depth.  Later on came the introduction of 
cochineal,  from N. America.  It was sometimes called "false Kermes"  -  it 
gave a deep red/scarlet color,  and strangely enough was cheaper...   I 
can't remember if that was because the bug was larger or if it just 
produced more chemical and therefore required fewer bugs/vat.

However...  if you are talking "scarlet cloth"... then you start talking a 
class of cloth and not purely a color.    Can you clarify as to which your 
friend needs...

>  -- draps de grana (cloth of grana); could this be scarlet? [Robin adds: I
>presume that's grain, or kermes, but I have no idea where I might have
>picked that tidbit up.]


Let me know a bit more and I'll see If I can dig out my resources on the 
medeival cloth industry/scarlet trade.
Bridgette


Mari Stewart
Cornell University


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OK - here goes.

Kate Bunting in Derby, England. Long-time member of the Sealed Knot,
currently portraying the widow of a Gentleman of the Chapel Royal
supporting herself as a musician during the "English" Civil War. Also
member of the Generalls Musick, a 1630s/40s band.
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Date: Mon, 2 Feb 2004 11:04:20 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Need help on medieval fabric terms
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On Mon, 2 Feb 2004, M Stewart wrote:

> Hey Robin...  Can you give me a date to work with?

The text involved is a French romance, 12th century. There may be some
overlap with other cultures in language use, but I wouldn't ask anyone to
go doing deep research in other languages. I was hoping there might be a
few people who could say off the top of their head, "Oh, yeah, I've heard
of that...

The text lists a long series of fabrics, in a scenario in which the
tailors bring in piles of fabrics for the king to examine. I believe she
said that "verts" is included in this list (as in X bolts of verts) as
though it were a fabric type, but there's also a reference to "vert
purpre," which makes you wonder which of the words is the color name and
which is the fabric name.

> >  -- silk palis  -  new term to me... I'll be interested to hear what 
> > other folks have to say.

That's turning out to be the hard one.

> The draps de grana...  as you stated grana is the Italian, and Spanish
> too (I think)  for grain dyed cloth.

That one was more straightforward -- I think we have that nailed.

> Let me know a bit more and I'll see If I can dig out my resources on the 
> medeival cloth industry/scarlet trade.

No, please don't go to that trouble! Though I'll forward your note to her,
and if she finds herself in need of further info, she can contact you
directly.

I truly appreciate the help. My friend is a professor revising a paper
that has been accepted for publication. She was asked to provide a more
detailed translation of this particular medieval French passage, which is
hard to do when all you can say about some terms is "We know it's a
fabric, but Lord knows what kind..."

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] who is here-ROLL CALL
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On Mon, 2 Feb 2004, [iso-8859-1] Catalina Saravia Quicedo wrote:

> Some lists I am on recommend regular roll calls with your name,
> general location and area/time of interest.

On the other hand, we have over 500 addresses on this list... that would
make a pretty long roll call, if everyone answered!  Though I suspect most
would not. Only a small proportion of those readers are active posters.
Some are occasional posters or once-in-a-blue-moon posters. Some never
post, just read.

Once or twice we've had a "lurker day" where we've encouraged people who
don't normally post to step forward and let us know who they are, what
they do, what they're interested in.

--Robin
researcher/lecturer on medieval Western European dress



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 Roscelin,
Try going to a local jeweller's shop and ask for paste jewels. I am lucky in that I have a friend who owns a shop, so can get anything I am willing to pay for. I do know that glass and paste jewels of all sizes shapes and colours can be found without trouble through a jeweller. If they won't, then they might be able to at least direct you to the right place.
 
 
Karen,
 
When I made my feather fan, I used an old spindle from a chair arm or back, cut it off the length I wanted and took a dremel to it to make a loop on the end to hang it, then cut a mortice and tenon like joint in the other end (if you don't know what that is it looks like this: http://www.eximcorp.org/Resources/Resources/GlossaryM/Morticetenon/20.gif ) then fitted a pair of shaped, thin craft plywood pieces to it, drilled holes for the feathers then glued them in. If you'd like to take a look at the finished product, I'll upload the pics to my site. (it will give me motivation to actually *get around* to updating my site o_O) Wasn't all that hard, and produced a spiffy bit of work. Frankly though, the fan handle took very little time to make, it was those infernal feathers! Ostrich feathers are very thick, so in order to make them thinner but still retain their fullness (I was not prepared to pay for the $20/feather feminas) I had to hand fletch each feather, pair it with a s!
 econd to
 really fluff it up then hand wire each pair together to give it strength and flexibility. Then I gave the feathers a "perm" by curling them with a pair of scissors, just like you would with ribbons. Messy process, but it was worth it. I have this fan that could produce a breeze for five people now. :-)
 
Kathy


Subject: [h-cost] Seeking glas
<snip>Does anyone know of a good source for these glass cabs?

Roscelin


Subject: [h-cost] fan handles
Does anyone know of a source for purchasing fan handles? <snip>

Karen



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Subject: Re: [h-cost] Need help on medieval fabric terms
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>
> The text lists a long series of fabrics, in a scenario in which the
> tailors bring in piles of fabrics for the king to examine. I believe she
> said that "verts" is included in this list (as in X bolts of verts) as
> though it were a fabric type, but there's also a reference to "vert
> purpre," which makes you wonder which of the words is the color name and
> which is the fabric name.
>
>

Is there a possibility that the vert is referring to a fur?  I had a friend
doing some research in the heraldic terms recently and she indicated that
gules for red was based upon a fur that was red in color.  No, I have
nothing to point anyone to, just a comment made in a discussion on what
she'd learn as she was getting ready to teach her high school class about
medieval heraldry...

Cyn


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Subject: Re: [h-cost] Need help on medieval fabric terms
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Hey Cyn,   I'd be more inclined to say fur if it was 'vair' -  which is 
based on squirrel.  But vert - as far as I know heraldically (?) is simply 
green.   The "gules for red was based upon a fur that was red in color"  is 
a new idea to me.  Do you happen to know where your friend found 
this?   I'd be interested to look into that.
Thanks,
Bridgette

Mari Stewart
Cornell University


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Hi, I'm Karen and I'm a costumer. (Group says 'Hi Karen!')

I live outside Chicago and have a garage full of fabric.....but I can
stop anytime...... ;-)

My Periods Of Special Interest (POSI?) include the late 18th century,
Anglo-Saxon, Late Victorian, and what is probably the area I know most
about- Elizabethan. I like just about any period tho, and a really vivid
description or an excellent picture can be very inspirational. What can I
say, I'm easy!



Karen

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This is my stone dealer try her also:
http://stores.ebay.com/gemstonesjewelrycoinsandmore/plistings/list/all/dept10/index.html?dir=1&col=4&sotimedisplay=2
Up on ebay and really REALLY cheap.
=============================
On Ebay http://snipurl.com/3csb
http://my.lulu.com/kristalori
Elizabethan Ladies Calendar
Rolled Florentine Cap Pattern
www.swapking.com/hats
=============================
----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: <h-costume@indra.com>
Sent: Monday, February 02, 2004 10:46 AM
Subject: [h-cost] Re: Fans and cabs


> Roscelin,
> Try going to a local jeweller's shop and ask for paste jewels. I am lucky
in that I have a friend who owns a shop, so can get anything I am willing to
pay for. I do know that glass and paste jewels of all sizes shapes and
colours can be found without trouble through a jeweller. If they won't, then
they might be able to at least direct you to the right place.
>
>
> Karen,
>
> When I made my feather fan, I used an old spindle from a chair arm or
back, cut it off the length I wanted and took a dremel to it to make a loop
on the end to hang it, then cut a mortice and tenon like joint in the other
end (if you don't know what that is it looks like this:
http://www.eximcorp.org/Resources/Resources/GlossaryM/Morticetenon/20.gif )
then fitted a pair of shaped, thin craft plywood pieces to it, drilled holes
for the feathers then glued them in. If you'd like to take a look at the
finished product, I'll upload the pics to my site. (it will give me
motivation to actually *get around* to updating my site o_O) Wasn't all that
hard, and produced a spiffy bit of work. Frankly though, the fan handle took
very little time to make, it was those infernal feathers! Ostrich feathers
are very thick, so in order to make them thinner but still retain their
fullness (I was not prepared to pay for the $20/feather feminas) I had to
hand fletch each feather, pair it with a s!
>  econd to
>  really fluff it up then hand wire each pair together to give it strength
and flexibility. Then I gave the feathers a "perm" by curling them with a
pair of scissors, just like you would with ribbons. Messy process, but it
was worth it. I have this fan that could produce a breeze for five people
now. :-)
>
> Kathy
>
>
> Subject: [h-cost] Seeking glas
> <snip>Does anyone know of a good source for these glass cabs?
>
> Roscelin
>
>
> Subject: [h-cost] fan handles
> Does anyone know of a source for purchasing fan handles? <snip>
>
> Karen
>
>
>
> ---------------------------------
> Post your free ad now! Yahoo! Canada Personals
> _______________________________________________
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From h-costume-bounces@indra.com  Mon Feb  2 11:42:20 2004
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From: "Alexia S. Jacobs" <asj2001@columbia.edu>
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Subject: [h-cost] Re: who is here
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My name is Alexia.  I'm from New York City and am a junior at Columbia
University.  I have always loved costume history and fashion in general, and
am planning to study costume history and museum studies (I am a comp. lit.
major doing Medieval Latin and English right now, although I did recently
write a long research paper about Turkish influences on eighteenth-century
dress for a class called Theories of Culture: Middle East and South Asia).
I don't sew very well.  My stitches are uneven and I have never actually
seen a working sewing machine in person.  In fact, I have only met two
people who have used them!  I commission all my clothing.  I am also
teaching myself to make lace (very slowly because I don't have the time or
space during the school year) and I like to knit and do petit point when I
am very bored.  I love clothing from many eras but my favorite is the
eighteenth century, pretty much from beginning to end.  Unfortunately, I
have never met anyone who lives near me who does as well.  Are there any of
you who are on this list?

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Need help on medieval fabric terms
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> The only one I can help with:
>>  -- vert
> Green, but it is usually used for the heraldic color. I don't know if it as
> used to describe the real color too.

But "vert" is simply French for "green", and the reason it's used in
heraldry is simply that the first heralds were Anglo-Norman and all the
ones since then have been big of tradition and kept the old language.
In the first few centuries after the Norman conquest, all the nobility
of England, not just their heralds, were speaking something much closer
to French than our modern tongue.

K.

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Subject: Re: [h-cost] who is here-ROLL CALL
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----- Original Message ----- 
From: "Catalina Saravia Quicedo" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, February 02, 2004 10:02 AM
Subject: Re: [h-cost] who is here-ROLL CALL


> Some lists I am on recommend regular roll calls with
> your name, general location and area/time of interest.


I am Dianne Stucki, in York Pennsylvania.

Sometimes I'm Lady Laurensa de Chambord in the SCA, living in England during
the reign of Gloriana, Elizabeth Regina.

Dianne
>
>

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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: [h-cost] who is here-ROLL CALL
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Might as well....   ; >

Mari Stewart here...  living in Ithaca NY,  working at Cornell University.
Interests in just about anything...
specific areas of interest in the Elizabethan knitting industry, textile 
trade and the "tailoring revolution."
among others...
current project is preparing for a local event called Ice Dragon.


And yes,  I do play some SCA, as Bridgette.



Mari Stewart
Cornell University


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I'm somewhat intermittant, but I -am- here.

Marc Carlson, Tulsa, Oklahoma, and I research a lot of medieval and early 
post-medieval  stuff.  Sometimes I even get it right :)

Marc

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Subject: Re: [h-cost] Re: who is here-ROLL CALL
Date: Mon, 2 Feb 2004 10:24:23 -0800
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Pam Dotson, Everett, Washington USA (home of the USS Abraham Lincoln, and
where they build all the big Boeing jets).  I do a lot of reading and study,
but the more garment construction I do, the more I realize I hate it, so I
don't know where that leaves me.  I love everything I've learned from each
one of you (and Bjarne, you've caused me to short out at least one keyboard,
drooling over your work), but feel I never have anything worthy of sharing.
I'm so glad y'all let me hang out and learn, though, and it has been a
wonderful distraction for me over the last year and a half, as I lost my
younger daughter, and had health crisis after health crisis.  You've saved
my mental health, giving me something fascinating way beyond myself to think
about.  Thank you.

Pam


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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] who is here-ROLL CALL
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Katie Pleasance, looking for SCA-era (especially Renaissance) 
costume-sewing contacts in the San Francisco Bay Area. Experienced in 
sewing; not experienced in costume design.

Katie


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Well if it's a big deal I'm here as well......

MKA Jacqueline J. Bump Oswego NY
and I run a local chapter of the Adrian. I don't tend to play to much within
the SCA although I do on occasion. Making an orange gown from the Countess
Lividia portrait some bodices an elizabethan hat and some other hats. Have
on patternout for sale currently and have three more in progress ranging
from hats to personal items.
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Kathleen Mitchell, Washington,Pa.,Designer and maid of all work involved with costuming. Retiring from general costuming , after 40 years more or less on the boards. I am focussing on doing it 'right' when it comes to historical costuming.  I have two"Houses" to worry-wort for, am becoming a doll maker and costumer. 

I love this 'window on the world'! It has sometimes been a little lonely on my pond. but less so when I hear and see all the wonderful things people on this list are doing.
Kathleen
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> On Sun, 1 Feb 2004, Roscelin wrote:
> 
> >    I hope someone can help me out.  I have bought some brass
> >    findings
> > that can hold glass cabachons or cameos or even natural stone cabs. 
> > I know where I can get cameos and the natural stone cabs, but I
> > can't find the glass, flatback cabs.  I have hunted on Ebay and even
> > on the net.  Does anyone know of a good source for these glass cabs?
> 
> I used to get these in sizable packages in craft stores such as
> Michael's or MJ Designs, maybe even Jo-Anns. They're sold as "glue-on
> jewels" or something like that, and they typically hang on the wall
> with other jewelry findings. I probably have a bunch of packages
> somewhere in my stash; I remember having to buy several packages just
> so I could pick out the red ones to use in a particular costume. If
> you need a color other than red, and not huge quantities, email me and
> I'll dig them up.
> 
> --Robin

They are a lot less common than in the past. There was a great 
factory in Germany which was producing the majority of them which 
burned down many years ago. Now most of them are plastic unless you 
buy them from places like Fire Mountain Gems and Shipwreck Beads.

Kat
<kat@redtrollforge.com>


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>  Later on came the
> introduction of cochineal,  from N. America.  It was sometimes called
> "false Kermes"  -  it gave a deep red/scarlet color,  and strangely
> enough was cheaper...   I can't remember if that was because the bug
> was larger or if it just produced more chemical and therefore required
> fewer bugs/vat.

The cochineal bug produces more of dye per bug (a type of shield 
louse, just like kermes) and the bug is more prolific than the one 
which makes kermes (and more prolific than the one which makes lac, 
which is also a shield louse which makes red.) So, they could get 
bugs more easily and each bug was more concentrated with dye.

Kat
<kat@redtrollforge.com>


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Re: who is here-ROLL CALL
To: Historical Costume <h-costume@indra.com>
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Status: RO

And here I am ---Kathryn Wolters in Ventura,California--also known in the SCA as Comptesse Albra Katerine Marie Isabel Bautise--OL,OP, from the Shire of Darach, Caid. Newly retired from Verizon after 30 odd years chasing down 'cases of missing dial tones and DSL signals, building special circuits--and now enjoying parttime work as costumner, ,jewelry-maker(need to accessorize one's  garb, right??)My actual persona is 16th cent french/spanish.My persona is supposed to have been daughter to an  ambassador from the French court, with a Spanish mother--living in the Spain of Phillip II.
Since I get to meet  and study with Sophonisba Anquissola for awhile, some of my favorite styles are Italian influenced , as well:)
Otherwise I've played with 14th century French, Spanish costumning--and periodically make forays into the Directoire, 1840's, and Edwardian. Drea's wonderful look at Flemish styles has me all fired up lately---and  Bjarnes' beautiful work has been tempting me to branch out into another period----------sigh!! I need more hours in the day, as well as to win the Lottery!!! 
Other  passions are metal thread embroidery, gardening(over 150 roses and a collection of thymes and scented geraniums),medieval/modern astrology, cordials and cooking from different time periods--life will never be boring:)
Albra

Marc Carlson <marccarlson20@hotmail.com> wrote:
I'm somewhat intermittant, but I -am- here.

Marc Carlson, Tulsa, Oklahoma, and I research a lot of medieval and early 
post-medieval stuff. Sometimes I even get it right :)

Marc

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Date: Mon, 02 Feb 2004 14:12:38 -0500
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Need help on medieval fabric terms
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Status: RO

Thanks Kat!  see, I knew someone here would be able to fill in that little 
piece of information.
Y'all are so cool.
Bridgette


>The cochineal bug produces more of dye per bug (a type of shield
>louse, just like kermes) and the bug is more prolific than the one
>which makes kermes (and more prolific than the one which makes lac,
>which is also a shield louse which makes red.) So, they could get
>bugs more easily and each bug was more concentrated with dye.
>
>Kat
><kat@redtrollforge.com>

Mari Stewart
Cornell University


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Status: RO

I'm Cynthia, San Antonio Texas.  I inherited a compulsion to create from my
mother and a desire to make things that are practical from my father.  I
prefer to work with things involving needle and thread, though I'll try just
about anything once.  I love studying and making garments from a wide range
of eras and locations, both for myself and for friends, though mostly my
work is for SCA periods 600-1600.  If I had some place to wear or a request
to make something from another period I'd be there.

Elizabethan is my favorite, as well as turn of the century 15/16th c
Venetian and there's the mid 16 c Flortines, and I'm plotting a 14/15th c
cotte and I just finished a German Ren for a friend and not off to make
those braes, hosen and tunic for another friend.  This is so much fun, isn't
it!

Cyn


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Status: RO

Hi, I'm Kat Russell and I've been costuming since I was a little 
girl.

About 20 years ago I found the SCA and finally had an outlet for all 
the costuming I'd been doing before. (Although I still have to use 
other outlets for my 18th C and 20th C stuff, as well as my "out of 
my own imagination stuff.")

In the SCA I'm Baroness Kateryne of Hindscroft, and am a member of 
the Order of the Laurel. I used to live in Greensboro, North Carolina 
(where I first found the SCA in my final year of my pediatric 
residency at Moses Cone Memorial.) I then moved to Seattle, 
Washington and now live in Vancouver, Washington. I've only traveled 
around the US (for medical conferences, but only those with museums 
nearby. I *love* Williamsburg and they have one of the best Pediatric 
conferences around put on by the AAP) and once in England (where I 
had the pleasure of getting to spend some time with our dear Teddy.)

I'm a rather general costumer. I love to research. But my favorite 
area is c1540 England.

My most current project is a late 16th C Ottoman outfit for a friend 
of mine. I've only got the 2 side seams and the front closure 
decorations to do on the last of the caftans. I believe I can see a 
light at the end of the tunnel! Then it's off to Estrella where I'm 
teaching 2 classes (practical handsewing and cartridge pleating.)

Kat
<kat@redtrollforge.com>


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Date: Mon, 2 Feb 2004 12:03:57 -0800 (PST)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Roll call
To: Historical Costume <h-costume@indra.com>
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Jonnalyhn Wolfcat Hall, known as Angharat ver' Reynulf
in the SCA.  I'll sign posts either way, depending
upon what I've been writing or asking about.  I simply
like to sew and do handwork.  My primary outlet for
historical costume right now is the SCA, where I play
14th Century Welsh Border Brat, and wearing non-SCA
period stuff at science fiction conventions along with
purely fantastical creations.

Right now my focus is on getting together a very "High
Court" formal type 14th Century outfit for myself and
my fiance for our wedding, along with the simpler
outfits for 3 attendants each and all of the
trappings.  Then I've got an Elizabethan and a
Victorian gown on the wish list. :-)

Jonnalyhn Wolfcat
Tacoma, WA
or Blatha an Oir (BAO), An Tir

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Status: RO

I am more somewhat a lurker, but I am also here :-)

Sabine Pothmann, Germany, specialized in historic movie costumes
reproductions. 27 years of sewing experience (I started when I was six), 20
years of reproducing costumes from pictures and movies - and in business as
a professional since 1997. But I will never, ever stop studying and each
day, I learn something new ;-)

Best wishes,
Sabine

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Date: Mon, 2 Feb 2004 12:27:39 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Re: who is here-ROLL CALL
To: Historical Costume <h-costume@indra.com>
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whoooooo----Kat--I'll be at Estrella, also----teaching---Beginning Metal Thread Embroidery--I'll look for you!  Shall we contrive to wear some sort of red H' with our site favors(broad grin)?
Albra

kat@grendal.rain.com wrote:
Hi, I'm Kat Russell and I've been costuming since I was a little 
girl.

About 20 years ago I found the SCA and finally had an outlet for all 
the costuming I'd been doing before. (Although I still have to use 
other outlets for my 18th C and 20th C stuff, as well as my "out of 
my own imagination stuff.")

In the SCA I'm Baroness Kateryne of Hindscroft, and am a member of 
the Order of the Laurel. I used to live in Greensboro, North Carolina 
(where I first found the SCA in my final year of my pediatric 
residency at Moses Cone Memorial.) I then moved to Seattle, 
Washington and now live in Vancouver, Washington. I've only traveled 
around the US (for medical conferences, but only those with museums 
nearby. I *love* Williamsburg and they have one of the best Pediatric 
conferences around put on by the AAP) and once in England (where I 
had the pleasure of getting to spend some time with our dear Teddy.)

I'm a rather general costumer. I love to research. But my favorite 
area is c1540 England.

My most current project is a late 16th C Ottoman outfit for a friend 
of mine. I've only got the 2 side seams and the front closure 
decorations to do on the last of the caftans. I believe I can see a 
light at the end of the tunnel! Then it's off to Estrella where I'm 
teaching 2 classes (practical handsewing and cartridge pleating.)

Kat



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Theresa Eacker

member of Greater Bay Area Costumer's Guild (San Francisco USA)

also belong/attend any events that are dance related with a costume 
emphasis: Bay Area Regency Society, PEERS, what-have-you

I'm a garb/costume generalist right now (only been period 
garb-creating/costuming about 3 1/2 years), so I "focus" on whatever 
period an upcoming event is in!!!


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From: "Lori Edwards" <scorpiangirl3@hotmail.com>
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Date: Mon, 02 Feb 2004 20:59:37 +0000
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Hi all - My name is Lori Edwards.  I am usually a lurker, although I post 
occasionally.  I live in the Seattle area.  I am active in science 
fiction/fantasy and historical costuming as well as in SCA -- Kingdom of 
AnTir. I Really enjoy the information posted on this list.

Cheers!
Lori

"An idle mind is the devil's twirly ride!"





>From: "Marc Carlson" <marccarlson20@hotmail.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: h-costume@indra.com
>Subject: [h-cost] Re: who is here-ROLL CALL
>Date: Mon, 02 Feb 2004 11:51:09 -0600
>
>I'm somewhat intermittant, but I -am- here.
>
>Marc Carlson, Tulsa, Oklahoma, and I research a lot of medieval and early 
>post-medieval  stuff.  Sometimes I even get it right :)
>
>Marc
>
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Subject: Re: [h-cost] who is here-ROLL CALL
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>Some lists I am on recommend regular roll calls with
>your name, general location and area/time of interest.

> > > I would like to know who is on the list at
> > pressent time.

Käthe Willig von Mainz, OL, OP, etc, (SCA) 1490-1560, well-off middle-class 
German from Nuremburg
Georg Willig/Käthe Willig, (SCA) 1535-1600, Landsknecht/Kampfrau

Molly Stone, honest seamstress/George "Ballast" Ballard, landsman 
(http://groups.yahoo.com/group/BayPrivateer/) 1740-1760, America, somewhere 
with boats

Cleora Foote, late 1840s, Cockney cook to Mr. and Mrs. Fezziwig, from 
Christmas Carol by Charles Dickens
Mrs. Josiah P. Creesy (Eleanor), 1851-54, navigator of the clipper ship 
Flying Cloud
Dickens' Fair in Northern California

(no character name yet), 1890s, Ardenwood Historic Farm docent

(no character name yet), 1901, San Francisco Maritime National Historical 
Park (http://www.nps.gov/safr/local/top.html) docent

Carolyn Kayta Barrows, dollmaker, (www.FunStuft.com) fibre artist, 
textillian, historical costumer, fantasy/science fiction costumer, unemployed

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

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


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Megge de Northwode, interested in most clothing within the SCA period but
currently doing medieval scandinavian, 14th century, and sometimes a bit of
working-class Elizabethan.  I sew, sometimes crochet, knit, nalbind,
embroider, and weave, although I mostly sew and repair machines and just
dabble in all the rest.  I reside in Maryland, USA.
-Megan


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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: RE: [h-cost] Re: who is here-ROLL CALL
To: Historical Costume <h-costume@indra.com>
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Hi Lori!

Didn't know you were on this list too! 

Lori does *really* pretty stuff, it's always fun to
see what she will be wearing at cons or at SCA.

Jonnalyhn




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From: "Tonkin, Rebecca (PIRSA-SARDI)" <tonkin.rebecca@saugov.sa.gov.au>
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Message: 5
Date: Sat, 31 Jan 2004 21:25:47 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
Subject: [h-cost] Need help on medieval fabric terms


 -- sendal (cendal) = a kind of silk like our modern taffeta, often in a
red color

Yes, also in green, see Fashion in the Age of the Black Prince

Rebecca

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From h-costume-bounces@indra.com  Mon Feb  2 18:11:19 2004
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	Mon, 02 Feb 2004 15:00:36 PST
Date: Mon, 2 Feb 2004 15:00:36 -0800 (PST)
From: Aurelia Rufinia <aureliarufinia@yahoo.com>
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Baroness Aurelia Rufinia, currently of the Barony of
Carolingia in the East Kingdom (Boston Mass), lately
of  the Barony of Nordskogen in the Principality of
Northshield (Minneapolis, MN).  I do primarly ROman
costuming, and dabble in Byzantine (I finished the
first stages of beading for a green and gold byz for
Birka last weekend, and looked VERY good,
ifIdosaysomyself.)  I once did Renaissance-ish, but I
decided I liked ROman better.  I'm on this list cause
I saw RObin lecture in Bostn a few months ago, and got
a LOT out of her research methods, and am learning
lots more stuff I'm tucking away for later use.  

Aurelia

=====
Baroness Aurelia Rufinia
House Iron Maiden, Barony of Carolingia, 
East Kingdom, Northshield Ex-Pat

"And was there a lesson in all this? Huh? What did we learn about beer?"
"Foamy!"
"Good. Just as long as that's clear."

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From h-costume-bounces@indra.com  Mon Feb  2 18:20:55 2004
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Date: Mon, 2 Feb 2004 15:12:07 -0800 (PST)
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Hello!
 
My SCA name is Giovanna Vernaccia, and I live in Seattle, WA, and while I am new to the SCA and to historical clothing, I have sewed all my life.  I do Italian Renaissance, mostly late 15th century, but I also like some 16th century styles as well.  I like to be as historically accurate as possible, and I am learning as many period techniques as I can.  
 
I love this list, and I get a lot of good information from it!
 
Giovanna
 


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From: "The Renaissance Tailor" <TheTailor@renaissancetailor.com>
Subject: RE: [h-cost] who is here-ROLL CALL
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Hello,

I am Tammie L. Dupuis
aka in the SCA as Laurellen de Brandevin
Consistently engaged in late 16th and early 17th century clothing, exploring
American Colonial period clothing currently.

I sew, knit, embroider (especially Central Asian stuff), try to keep up
with my website (www.veretsable.com or www.renaissancetailor.com), do other
odd bits of things in metal, wood, and paper. I've just recently signed
back on to this elist.

I reside in South Park (seriously) - a suburb of Seattle, WA.

Tammie
"The only man who behaved sensibly was my tailor; he took my measurement
anew every time he saw me, while all the rest went on with their old measurements
and expected them to fit me."

- George Bernard Shaw




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From h-costume-bounces@indra.com  Mon Feb  2 18:46:08 2004
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From: "Lori Edwards" <scorpiangirl3@hotmail.com>
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Hey girlie (jonna)

It always fun to see you at events and cons!  Always trying to come up with 
fun stuff to wear.  Getting ready to compete at Norwes after taking last 
year off.  Keep up the beautiful costuming!


Lori
"An idle mind is the devil's twirly ride!"





>From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: RE: [h-cost] Re: who is here-ROLL CALL
>Date: Mon, 2 Feb 2004 14:53:25 -0800 (PST)
>
>Hi Lori!
>
>Didn't know you were on this list too!
>
>Lori does *really* pretty stuff, it's always fun to
>see what she will be wearing at cons or at SCA.
>
>Jonnalyhn
>
>
>
>
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From: "Glenda Robinson" <glendar@compassnet.com.au>
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Subject: Re: [h-cost] who is here-ROLL CALL
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Status: RO

Glenda Robinson, from slightly west of Sydney, Australia.

Am currently involved in just-pre-ECW London reenactment with the Pike and
Musket Society, where I am also part of a smaller group who Playford Dance.
Am also interested, but not in a current 'group' for, 7th-8th Anglo-Saxon in
Lincoln/York - NE England, and 70ishAD Roman-British. I reenact with my
husband and two boys. My sewing-related interests are: handsewing
techniques, embroidery, making my own patterns, braids and cords. I've
started knitting again for reenactment purposes, and will start some
nallbinding shortly.

I'd post more, but often find that being asleep when most are awake, what I
would have said has already been posted.

Glenda.

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To: Historical Costume <h-costume@indra.com>
Date: Mon, 02 Feb 2004 15:52:27 -0800
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> I sew, knit, embroider (especially Central Asian stuff), try to keep
> up with my website (www.veretsable.com or www.renaissancetailor.com),
> do other odd bits of things in metal, wood, and paper. I've just
> recently signed back on to this elist.

Hmmm. Got tired of me forwarding stuff to you, huh. ;) 

Good to know.

By the way, this lady is the site owner (see above) which many of you 
keep referring to for information. It's got loads of cool stuff on 
it.

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Mon Feb  2 19:07:28 2004
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I'm Kathy Page, known in the SCA as either Caitlin inghean Tomais ui Duibhir or Signora Salvatrice D'este, honourate cortigiane e veleno. I began sewing at 11, got into french heirloom sewing and corsetmaking entirely by accident several years ago, which quickly graduated me into Victorian and Edwardian, leaving me with an entire closet filled with every frilly confection known to womankind, was invited to a Butlers Rangers weekend and ended up with a completely over the top 1776 gown,  took a couple years off to have a baby then plunged into the renaissance with a vengance. As my names suggest, I do both Irish and Venetian in particular but am easily swayed into other places that seem interesting. I have expanded considerably and at a scary rate into other interests, mostly in order to feed my costuming habit, since I consider a costume complete once it has its' accessories and shoes. I'll try to make anything once, twice if I like it. :-)

Kathy



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Kat wrote:

>Hmmm. Got tired of me forwarding stuff to you, huh. ;) 
>
>Good to know.

You just made me horribly curious. I can't handle that...

Regards,

Tammie L. Dupuis
www.renaissancetailor.com/www.vertetsable.com


"The only man who behaved sensibly was my tailor; he took my measurement
anew every time he saw me, while all the rest went on with their old measurements
and expected them to fit me."

- George Bernard Shaw




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Hello everyone,

I'm Colleen McDonald (aka Cainder nic Sheanlaoich in the SCA). I'm currently researching women's clothing in Florence (1350-1365) and have an interest in the clothing in the other Italian city-states of the 14th century, along with the cloth trade and shoes from the era throughout Europe. I'm also researching chemises during this period, especially the sleeveless versus long sleeve issue, and I've been studying goldwork (embroidery) during this period as well.

I live in Edmonds - a suburb of Seattle, WA.

Colleen
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Kelly Dorman on historic Mackinac Island where the horse is King!
 My main time periods of interest are 1850-1865 and 1910-1919. I make reproduction clothing mainly for myself and my husband, although I am currently making 1860's baby clothes for a dear friend who is expecting. My current obsession is with all things beaded - clothing, bags and other accessories. I am attempting to start a small business making reproduction and original Edwardian style beaded evening bags. I was fortunate enough to be asked to have my first show at  Grand Hotel this past fall, which went very well. I desperately need to create a website, but am having a great deal of trouble writing the accompanying text to the photos of my bags. Most of my work has sold by word of mouth and has generally been a custom commissioned situation. Wish me luck!
Kelly
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I am Wendy Colbert
I currently live in Atlanta Georgia. I too am in the SCA.
I discovered I was interested in sewing for different eras than the SCA when 
my daughter had a dress up day in school after reading Little House on the 
Prairie. 
I looked at patterns, looked for the correct fabric, made a dress, apron and 
hat, we agonised over the shoes she would wear.... and when the day came, most 
of the kids were in generic skirts or commercial overalls. :-)

It was after that that I had an ah-ha moment about why my son was so picky 
about the details the year he was a fireman for Halloween. He wanted the tank 
to be the correct color with a hose and mask, the boots had to be right, etc, 
etc etc....

I am also a spinner and a knitter and have redacted patterns for a Monmouth 
cap and scoggers.

Wendy


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To: Historical Costume <h-costume@indra.com>
Date: Mon, 02 Feb 2004 16:56:09 -0800
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Subject: RE: [h-cost] who is here-ROLL CALL
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> You just made me horribly curious. I can't handle that...
> Tammie L. Dupuis
> www.renaissancetailor.com/www.vertetsable.com

;) Big Cheshire Cat grin. ;)

Lots of good stuff here, plus a lot of *really* nice, talented 
people.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] who is here-ROLL CALL
Date: Mon, 2 Feb 2004 17:23:15 -0800
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My name is Margo.  Some other Margo.  I live in northern California, and I
lurk a lot.

Margo Glenn-Lewis
"Don't forget your bucket"
Ice Machine in the Desert - Brave Combo
----- Original Message ----- 
From: "Catalina Saravia Quicedo" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, February 02, 2004 7:02 AM
Subject: Re: [h-cost] who is here-ROLL CALL


> Some lists I am on recommend regular roll calls with
> your name, general location and area/time of interest.
>
> I am in the SCA in the Barony of the Steppes.
> Senora Catalina Saravia Quicedo lives was born in
> Spain in 1501. Her best friend is a widow from France
> who works with her in sewing. Her friend is trying to
> teach her some basic embroidery. She occasionally
> enjoys illuminations. And is usually found working
> side by side with her husband, the Baron's Exchequer.
>
>
>
>
> >
> > On Fri, 30 Jan 2004, Bjarne og Leif Drews wrote:
> >
> > > I would like to know who is on the list at
> > pressent time.
> >
>
>
> =====
> Seńora Catalina
> Aurum peccamenes multifariam texit
>
>
>
>
>
> ___________________________________________________________
> BT Yahoo! Broadband - Free modem offer, sign up online today and save Ł80
http://btyahoo.yahoo.co.uk
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Greetings!

My name is Kate and my passion is 16th century Italian
clothing--specifically Florentine clothing. I've been interested in it
since I went to my first SCA event in Germany in 1990. I've also
created several bridal gowns (I keep swearing "Never again...") and
some prom gowns. Been sewing since I got my first Barbie 45 years ago.

I live in NE Ohio, not far from the Football Hall of Fame. I'm a
non-traditional college student studying graphic design at a community
college.

My current project is getting our SCA Baron and Baroness ready for
their investiture and for the creation of our brand spankin' new
barony! :-) I'm known in the SCA as Ailith Mackintosh.





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Well, lots of folk are doing it, may as well join in!

I am Justine Magill known as Jenne McGill in the SCA.  I mainly sew for 
everyone else.  I have worked on a variety of eras, such as viking, 
pseudo gfd's for the ladies of my house and cotehardies for the men, 
italian, various tabards for more than one household, sheetwalls and 
such, german renn and the ubiquitous t-tunic done at request of the 
wearers to match various manuscripts and such.  Oddly enough, my favored 
era is elizabethan which I started out wearing, but have not made or 
worn any of that in some time.  Right now I wear a series of tired old 
t-tunics...  I really need to ignore my shire and household for a while 
and do for myself.  I do have a properly fitted gfd for myself in the 
works which just needs finishing of the eyelets, and plans for two more 
done in the style of my household's livery gowns, but time is not 
available right now for much other than eating working and sleeping.

I also cook, embroider, am usually the shire's head troll aka gate 
keeper or money taker, I have been known to do the odd illuminated 
manuscript from time to time, and was singing with the local shire's 
choir.  I have an interest in warp weighted looms and I want one to go 
with the inkle loom I have.  I do have a drop spindle as well and I know 
how to use it!  One of these days I want to try to weave some cloth and 
make a completely 'from scratch' viking outfit.... complete with 
embroidery and woven trim.  I am working on bobbin lace for ruffs for 
some elizabethans I have in mind for myself in the future. I also have a 
gown for one of my sis's in the works - the Elenora de Toledo gown in 
the Janet Arnold PoF.  I am still collecting the materials for it, but 
once I get all the stuff I need, I will start on it.... Embroidery heaven!

Mundanely, I am a para-professional accounting geek, on the level of a 
jr accountant.  As you can imagine, I don't have much time right now at 
this time of the year - long hours and long weeks. Seeing as I am 
working towards my accounting degree, I have even less time than that! 
 So for the time being, I am mostly collecting books, images,  info, 
patterns and the odd snippet of knowledge that comes along while 
occasionally getting a little sewing done.

Lady Jenne McGill
House Bloodguard
Shire of Rusted Woodlands
East Kingdom
MKA Justine Magill
Northern NJ



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] who is here-ROLL CALL
Date: Mon, 2 Feb 2004 21:59:08 -0500
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On Monday 02 February 2004 12:13 pm, Robin Netherton wrote:
> On Mon, 2 Feb 2004, [iso-8859-1] Catalina Saravia Quicedo wrote:
> > Some lists I am on recommend regular roll calls with your name,
> > general location and area/time of interest.
>
> On the other hand, we have over 500 addresses on this list... that would
> make a pretty long roll call, if everyone answered! 

I agree with that, Robin.  However, since I decided to pipe up, I may as well 
introduce myself.

My name is Cathy Raymond.  I have never been in the SCA, though I've been to a 
few SCA events courtesy of friends.  

I'm a lawyer who reads history, particularly the history of costume, for fun, 
and occasionally attempts to fashion an approximation of period costume in 
order to get a better understanding of what it was like to live in the days 
when that was fashion.

Maybe someday, when I retire, I will have the funds/energy/time to delve more 
deeply....


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: who is here-ROLL CALL
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On Monday 02 February 2004 01:24 pm, Pam and David wrote:
> Pam Dotson, Everett, Washington USA (home of the USS Abraham Lincoln, and
> where they build all the big Boeing jets).  I do a lot of reading and
> study, but the more garment construction I do, the more I realize I hate
> it, so I don't know where that leaves me. 

About where I am, apparently.  I keep acquiring more books and more ideas for 
projects, while spending less and less time actually sewing.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: [h-cost] Re: who is here-ROLL CALL
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I'm over here in the NW corner of the US (sue waves wildly)....Missoula, 
MT, smack in the middle of the Rocky Mountains.  Missoula, for those of 
you who are into movies, was the "location" for the movie _A River Runs 
Through It_.  Days, I work for a software company to pay my fabric and 
textile and book jones.  I've sewn a little since I was small, but it 
was mostly quilting, and I didn't get into costuming, let alone 
*historical* costuming until I was in my 20s.  I have worked at a couple 
of university costume shops, done professional sewing for a living a 
couple of times (once, doing alterations and repairs, and one awful 
7-year stretch making custom tents, tipis, awnings, and outfitters' 
products).  I live with 4 cats (one of whom is named after Sophonisba 
Anguissola), waaay too many books, and an ever-burgeoning stash of 
needlework tools, yarns, threads, fabric, and half-finished projects.
My primary outlet for historical costuming comes through my involvement 
in the SCA, where I am known as Mistress Maire NiNuanain (OL and OP). 
Most of my experience in costuming and needlework is 16th century 
English/French, although recently I've been branching out into earlier 
styles.  My current projects are mostly pre-costuming related--I'm 
working on spinning enough yarn to weave my own clothing (at least 
once!), learning to knit and naalbind and weave on a horizontal loom.
I've been lucky enough to meet a few of the folk on this list--Robin and 
Teddy, and, I think, Albra (many years ago at Estrella).
I'm interested in clothing from many different time periods, and would 
love to explore 18th century stuff, especially, but do not have any 
groups near me that do anything like that.  I like to do a lot of 
research, but I also enjoying the making of something, being a more 
process-oriented person than anything....
--sue

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Hey, Laurellen! I didn't know you lurked on this list! How cool!
(guys, she's a costuming *goddess*!)
--sue

The Renaissance Tailor wrote:

> Hello,
> 
> I am Tammie L. Dupuis
> aka in the SCA as Laurellen de Brandevin
> Consistently engaged in late 16th and early 17th century clothing, exploring
> American Colonial period clothing currently.


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Regina Romsey, Old Used Drachenwald Viscountess (tm).  Currently portraying
a Lady born at various times in Romsey, Hampshire, England.  Concentrating
between 1465 and 1600.  Supporting myself as the Lady Wife of a Viscount
with wanderlust and a patent from the Crown to act as Ambassador to _fill in
the blank_.  Daddy is also an Ambassador so I get to run the lands while the
boys are off making themselves feel important.

I'm very interested in clothing of whatever time period, and the lives of
the people who wear it and to a certain extent make it.

I'm a noblewoman because I'm middle class peasantry today and see no reason
why I should play such a position in my fantasies!

Regina Romsey

"Make not the best, foe to the good,
 But ask, "Did I the best I could?"
 Not angels' best, nor other men's,
 Nor what thou  mayst a season hence,
 But at each day's end, seek to say,
 'I did the best I could today.'"
 Gweyrvyl/Andrea Huwydd Lycsenbwrg


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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Lisa Sinervo, not in the SCA or any group because I really like the
costuming and research side more than actually dressing up and I can't act.
I am however working on a starch house (one day tailors shop) and have spent
the last several weeks developing tinted starches using cochineal,
ultramarine, saffron, indigo, turmeric and anything else period I could get
my hands on, I had 50 pounds of wheat starch to work with.  It's a strange
sight to see a bright blue ruff.  I'm also busy webbing an organizing info
on the 16th century clothing industry, mostly because I can never remember
where I read what and its fun to do, plus I can then read it at work ;-)

Lisa Sinervo
see www.thrednedlestrete.com/cfblog/experiments.htm (for a really blue
ruff )


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To: Historical Costume <h-costume@indra.com>
From: Magdalena <magdlena@cox.net>
Subject: Re: [h-cost] Re: who is here-ROLL CALL
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Christina Biles, Stillwater, Oklahoma.  Sometimes known as Magdalena da 
Cadamosto, or Maggie, in the SCA.  My current obsessions are 8th century 
Anglian costume and 1530-1630ish shirts and smocks.  By day I am a mild 
mannered librarian, by night a wild-eyed hoarder of fabric.

-Christina


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From: "The Renaissance Tailor" <TheTailor@renaissancetailor.com>
Subject: Re: [h-cost] who is here-ROLL CALL
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Marie!

I was wondering if you were still on this list. How cool indeed!
>
>Hey, Laurellen! I didn't know you lurked on this list! How cool!
>(guys, she's a costuming *goddess*!)
>--sue
>
>The Renaissance Tailor wrote:
>
>> Hello,
>> 
>> I am Tammie L. Dupuis
>> aka in the SCA as Laurellen de Brandevin
>> Consistently engaged in late 16th and early 17th century clothing, exploring
>> American Colonial period clothing currently.

"The only man who behaved sensibly was my tailor; he took my measurement
anew every time he saw me, while all the rest went on with their old measurements
and expected them to fit me."

- George Bernard Shaw




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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Need help on medieval fabric terms
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At 11:09 AM -0500 2/2/04, M Stewart wrote:
>Hey Cyn,   I'd be more inclined to say fur if it was 'vair' -  which 
>is based on squirrel.  But vert - as far as I know heraldically (?) 
>is simply green.   The "gules for red was based upon a fur that was 
>red in color"  is a new idea to me.  Do you happen to know where 
>your friend found this?   I'd be interested to look into that.

It's mentioned among a wide variety of other possibilities in the 
discussion at <http://www.heraldica.org/topics/gules.htm>, but I 
don't believe that any specific etymology has overwhelming support.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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I'm Wendy Zdrodowski from Chicago.  Got into costuming through 
Ren-Faires, where I now perform as a musician (www.minstrosity.com).  We 
perform throughout the midwest region, and are working on our third CD.

I do primarily Elizabethan, modified in a few places for convenience 
(larger armholes for example, so I can set up stages easily), but I am 
also a recent convert to Flemish working dress.  I also just made a new 
set of nobles, partially using Margo Anderson's pattern set.  First try 
at extensive beading and padded pleats, among other things.

I also have a history in comic-book costuming and improvisation - I was 
CC21's "Magic Cloak (made of 343 'Magic-The Gathering' cards) and the 
model for Iron Costumer's "Dodo of the Internet".

I used to retail out of a boutique and do more commission work, but as 
the band has gotten more successful I have cut back to only a few 
regular clients - and myself, of course.

I have a "day job" as the receptionist/admin for the local American 
Cancer Society office. I share a tiny studio apartment with 2 sewing 
machines, a serger, an extensive research library, and a hamster.

WZ

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From: "Chiara" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] who is here-ROLL CALL
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Status: RO

Franchesca V. Havas, glove maker, mommy of three, wife to one, friend to a
very sweet kitty that the whole family is allergic to except me.

SCA: Chiara Francesca Arianna d'Onofrio

Amtgard: Contessa Francesca d'Pisa bella note dolce vita Vecchio Havas
Grande Corleon, sir

(what can I say, I love my name *smile*)

And no, hubby does not play at all, he is a tolerant sweet man. :)

I like and make Elizabethan. I like starting most of my creations by hand
sewing them together to make sure of fit then reinforce them with machine
stitching cause I have 3 kids that like to hang off my costumes, make me
chase them, and men keep stepping on my train in hopes that I will pinch
their butts (long story). I do not trust my hand sewing THAT much.

My newest project, well three new projects, 1) recreating the phoenix dress
by August, 2) sewing every Wednesday this year until all my fabric is gone,
and 3) making armor to be a standard bearer at Gulf Wars (SCA)

Chiara

: >
: > On Fri, 30 Jan 2004, Bjarne og Leif Drews wrote:
: >
: > > I would like to know who is on the list at
: > pressent time.
: >

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 Hi, I'm a lurker, Wendy Speary and I live in the Great White North, Winnipeg Manitoba where on Wed it was -39C! (-38.2F). My family recently returned to the SCA, where I am known as Emma deVos and live in the Barony of Castel Rouge. I am married to Pedro, AKA Pedro Ramirez, AKA Shingen and have the best, almost 4 year old boy, Leo. I make garb for my family, including rapier armour, mainly from 16th and 17th C. (shameless plug, www.hecate.ca/emma/ ) but will be making cottes and gambeson for a Pas d'Arm event we are doing in June. After June I will be making my son's first breeches. He has chosen a pierced leather doublet with stripey pants from a Dutch painting by Ketel.In the real world, I do custom work for a cool vintage/costume shop called Ragpicker's Antifashion Emporium, and I work at a sex shop called the Love Nest. 

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It is a long list, especially since so many of us have more than 1 name and persona.  My real name is Janet Davis and my SCA name is Leah Janette, also known as the Book Lady.  I have learned a lot from this list, although I am not actually sewing these days.  (I love designing clothes, love buying fabric even more and like wearing costumes - it's the part in the middle that's too much work.)  After the KWCS in Denver this fall, I got inspired to take the big collection of clothing images I've been saving on the computer and do a presentation of artworks depicting styles that are seldom worn in the SCA.  I live in Erie,PA in a drafty Victorian house with 5 cats and a significant other.

Janet

Janet Davis
Castle Furnishings
www.medievalbookstore.com 


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From: "Cabbage Rose" <cabbagerose@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
References: <20040202235836.72319.qmail@web12904.mail.yahoo.com>
Subject: Re: [h-cost] who is here- ROLL CALL
Date: Mon, 2 Feb 2004 23:24:45 -0800
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Angela Lazear, Newark, CA - Theatrical Costumer.  Got hooked on
the list eons ago when Mara talked me through a production of
Brigadoon.  So many folks with so much wonderful knowledge.

Freakishly obsessed with the 20s, "anything by Bjarne", and
pretty much everything y'all make and put pics up of.  Oh yeah,
Italian Renn!

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

"O, what a world of vile ill-favored faults
 looks handsome in three hundred pounds a year!..."
The Merry Wives of Windsor, III, iv - W. Shakespeare

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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] ROLL CALL
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Welcome, welcome!  It is so nice to see the lurkers coming on the list!  I
know there are more of you out there.  It is so much fun reading about all
of you.

I have been on h-costume since I was a college student in 1996.  I have made
several wonderful friends on the list... also had the wonderful pleasure of
meeting several of them.  If you are bored and want to read my bio, it is
at:
http://www.costumegallery.com/classroom/Penny/bio.htm

Currently I am working on putting several new articles about the ladies and
children's fashions during the American Civil War AND the
carnival/masquerade season history up in our online Library.  My latest
creative outlets are 1970s crocheting and quilting.  In other spare time
(LOL) we are working on finding the perfect college for my 4th son to go for
theater technology.

I hope the newbies enjoy the list as much as all the old-timers have.

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


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From h-costume-bounces@indra.com  Tue Feb  3 03:15:13 2004
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Date: Tue, 03 Feb 2004 00:07:25 -0800
From: Shea Young <younganne@usa.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [Re: [h-cost] who is here-ROLL CALL]
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Robin Netherton <robin@shell.nightowl.net> wrote:

> Once or twice we've had a "lurker day" where we've encouraged people who
> don't normally post to step forward and let us know who they are, what
> they do, what they're interested in.

Well Robin, here is a lurker responding to your suggestion.

I'm Shea Young, formerly Munroe. I have been a list member on and off for 10
years or so.  My occasional posts have usually been about books because that's
my business! I have worn vintage clothes and sewn for about 40 years -
sometimes professionally. I too am a fabriholic with a houseful of round-to-it
projects.  I've always been fixated on the Aesthetic Movement and love the
idea of the Edwardians reinventing medieval clothing.  I can have much more
artist freedom with fabrics and embellishments in recreating a William Morris
tapestry gown than a simple kirtle, though the challenge to fit the kirtle
correctly is on my to-do list - along with a million other things... 

Currently living in Portland, Oregon where I joined my husband, Tim, in
reenacting the Hudson Bay Company fur trading period (1790-1850). I was
converted from portraying a member of the Sanitary Commission during the
American Civil War!  We are now focusing on mid-late 18th century. My stays
are about half finished and I did Sharon's repo quilted waistcoat. Next up is
a Mill Farm gown, then a J.P. Ryan jacket and petticoat - possibly a waistcoat
for Tim. I often say that the main reason I married him 6 years ago is because
his fabric stash was almost as big as mine, and he had the Montgomery book!
Good man....

That's it for me.





Shea Young ~ ~ ~ ~

"As you go the way of life, you will see a great chasm. JUMP! It is not as
wide as you think."  ~  Joesph Campbell



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Pierre Pettinger, Sandy Pettinger (who does most of the posting here):

Primarily science fiction/fantasy costumers; but as you all know, there are 
NO original designs, so historical and ethnic info comes in really handy 
when designing fantasy costumes.  Have done stuff based on many different 
eras and cultures.  Pierre is stockroom coordinator and jack-of-all-jobs 
for a retail store (and sews his own stuff, besides doing the patterns), I 
program mainframe computers for an international corporation.  We live in 
Lincoln, NE, and are members of the St. Louis Costumers' Guild (a really 
fun bunch!!)  Hope to see some of you in Atlanta for Costume Con 22 
(shameless plug).

Sandy

"Those Who Fail To Learn History
Are Doomed to Repeat It;
Those Who Fail To Learn History Correctly --
Why They Are Simply Doomed.

Achemdro'hm
"The Illusion of Historical Fact"
  -- C.Y. 4971

Andromeda  


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Date: Mon, 02 Feb 2004 17:55:47 -0500
Subject: Re: [h-cost] Re: who is here-ROLL CALL
From: ruthanne baumgartner <ruthanneb@mindspring.com>
To: Historical Costume <h-costume@indra.com>
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Hi everybody.

I'm Ruth Anne Baumgartner, and the closest I've come to a period name is a
quickie Queen Ruthanna at a Medieval Banquet last Saturday evening. I've
been lurking on the list for a couple of months and am wild with admiration
and envy.

I was a college professor of English specializing (well, my training
specialized) in Elizabethan and Jacobean drama. I'm now part-time in a
couple of college English depts (the result of a forced strike, permanent
replacement of striking tenured faculty, and then a Rev. Moon take-over at
the University of Bridgeport, my former employers).

The "up" side of that is that seeking a creative outlet (part-time
teaching:teaching = baby-sitting:parenting, i.e. none of the long-range
planning and development!) I stumbled into theatrical directing. I've
directed at a few community theaters and one professional theater in
Connecticut, where I live.

I now chair the Board of Directors at one of the community theaters (Town
Players, Newtown), and there I've been directing a classic production every
summer, usually a !!!Shakespeare!!! or other Eliz or Jac drama (way to use
that training, girl!). That is, 6 Shakespeares so far, Beaumont's Knight of
the Burning Pestle, Jonson's Bartholomew Fair, and a parody I wrote called
The Revenge Tragedy: A Comedy. And because it's a community theater with
virtually no budget, I costume my own shows.

I think that although taking Shakespeare into other time periods or places
can once in a while produce something interesting, nothing fits the text and
preserves the timelessness better than Eliz/Jac costuming. Similarly, my few
excursions into later times (The Country Wife, The Rivals) cried out for
Restoration and Eighteenth-century costuming. Give the audience the world of
the play, not just the text. (We also add period songs and dances, thanks to
my own music background and a friend who teaches historical dance.)

Alas, budget and time constraints force a lot of compromises. I suppose it's
just as well, since neither the size of our stage nor the level of awareness
of our particular audience is really appropriate for full accuracy of style,
construction, and materials. My costumes (you can see some of them at
www.newtownplayers.org) go for the line rather than the detail, harmony of
color rather than authenticity of color, and "yore" rather than a precise
year or location. And, following the dictum of my own college theater
director that if the text is rich the production should be plain and if the
text is plain the production should be rich, I leave most of the
ornamentation for Shakespeare rather than trying to put it on the clothing.

With two and once in a while three sewing assistants and substantial help
from Simplicity, Butterick, McCalls, et al., I costume fifteen to
twenty-five actors in the space of five weeks. (The last few years have been
a little easier since I've built a collection that is becoming more and more
presentable and so can re-use a number of things from year to year.)

BUT I wish I had the knowledge, the skill, the patience, the budget, the
time, and the focus to mount, just once, an "authentic" production. Maybe
someday I'll be able to put to use some of the knowledge I'm gleaning from
you. My cap (of whatever period you choose) is off to you all!

Ruth Anne Baumgartner

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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Re: Roll call
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Sandy,

What are the dates for Costume Con in Atlanta?  Do you have the URL for
their site?

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


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Subject: Re: [h-cost] Re:who is here-ROLL CALL
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Greetings--

I'm Susan Carroll-Clark, and my main interest is 12th-14th century English costume, with the focus right smack in the middle in the 13th century, although if it's medieval or Renaissance, I've probably tried it or thought about it or researched it. Clerical and academic clothing is a sub-interest, and I hope to have a paper published soon that came from a session I did two years ago at Kalamazoo. (I run with that DISTAFF crowd :-)

This is actually what I'm "doing" with my doctorate (in history) these days, since I have a day job with a bank.

I'm an SCA member, where I'm known as Nicolaa de Bracton.  I just stepped down as editor of Tournaments Illuminated and am enjoying my rocking chair and afghan :-)  I live in Toronto, which is Eoforwic in the Kingdom of Ealdormere, and am a member of the Order of the Laurel for research and the Order of the Pelican for editing stuff (more or less :-)My current project is to learn tablet weaving. I'm also back to doing commission work for members of my group, and am just finishing up a nice quilted jupon.

Susan

1

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From h-costume-bounces@indra.com  Tue Feb  3 06:14:14 2004
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    Yep, I'm on the bandwagon too.

    I'm a costumer by default. Embroidery is truly my passion, but one runs
out of things on which to put embroidery, and historically embroidery is so
much a part of garments. I do 100 Years War, specifically 15th century,
Georgian, Regency and Victorian. Infrequent part of the SCA, known as
Leonora up here in Ealdormere.

    Much of my embroidery involves either historical reproduction garments
or art textiles, mostly worked on silk, silk/wool blends, linen, primarily
in filament silk and gold bullion thread. At the moment I'm working on a
series of wall hangings I've designed, based on the Celtic theme of Earth,
Wind, Fire, Water. Earth and Fire are done. Wind is on the frame with Water
begging to go on as soon as possible.

    I also run Five Rivers Chapmanry with my husband, Gary, who is the
cooper. I take care of the pattern and textile division and oversee the
administration of the business.

    Oh, and high, Kathy Page! I can certainly attest the fact Kathy has a
closet full of Victorian frillies! Remember that fashion show?

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

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Subject: [h-cost] The goodies in Kathy's closet - was Roll call
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YES! *LOL* I do! Can't forget it! I pulled together that show in a month and a bit, with only one item not making it from planning to finished product. I did not only one of those fashion shows, but 2!!  I have 13-14 odd items (above and beyond the items that were made for me) of decadent lace, silk and cotton combinations in storage in my closet, ranging from US Confed to flapper era. For the second year fashion show, I even pulled off a second completely over the top 1776 gown, complete with all the proper undergarments for a friend (who, frustratingly, never took it home with her as she intended. I have since sold the corset and underskirt, and will likely rip apart the gown and make a late period Venetian with it. Black/pink shot taffeta isn't necessarily my first choice, but I have YARDS and YARDS of the stuff hanging around - I am thinking a really wild fencing frock.) 

These projects are what started my well hidden obsession with vintage black lace - that stuff is HARD to find! Although what I have done with it is... wow. I just like running my fingers over the ruffly layers of black lace....Not to disparage what I have done in the past with white lace either. :-) There is an Edwardian lingerie dress made of voile and countless yards of french lace in that closet with over 60 hours of lace-joining time invested in it - ah, the things I did B.B. (before baby). My personal favourite is the Edwardian petticoat that swooshes and rustles so nice! I really need to get rid of a lot of it though. Not even a third of it would fit me (never did since it was made for fashion show models - REAL people, not human coat hangers with arms!), and I am not doing that period right now. Hubby is nagging me to auction it off on Ebay. 

Hey.. any takers on a bunch of Vic and Ed period underfrillies? 

Kathy

 

Oh, and high, Kathy Page! I can certainly attest the fact Kathy has 
a
closet full of Victorian frillies! Remember that fashion show?

Regards
Lorina




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Subject: Re: [h-cost] Re: who is here-ROLL CALL
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Bandwagon time!

Christine Gorman, from New York, though I'm currently attending college at 
Carnegie Mellon in Pittsburgh (love the college, hate the fact that it hasn't 
stopped snowing/raining/generally being gray out since I got back in mid-January 
*g*).  Currently a first year psychology major, though I'm going to try and 
switch or double-major in CMU's school of drama costume design major (didn't 
even know about it until I went and saw one of the drama school's plays, it's 
that small!).

Anyhow, I've been sewing for almost two years, and my main area of study and 
creation is c.1560 Elizabethan, though I've been commissioned for that civil 
war ballgown that I asked about a week or so ago, and I've done faux Fortuny 
and two Star Wars costumes.  I'll probably be dabbling in Italian Ren and 
possibly Flemish working class/peasant, and quite possibly earlier period things.  I 
inherited my need to sew from my grandmother (it was just latent until 
recently, that's all!), though if she were alive today she'd likely be shaking her 
head over my "workspace" and telling me to organize things better.  

Christine
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Re: who is here-ROLL CALL
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WOW--and my cap off to you, Ruth Ann--for doing so much in theater--! That's a pretty impressive list of accomplishments---associated with being directer. It's now your turn to be the object of other's 'admiration and envy':)
Cheers and Best!
Albra

ruthanne baumgartner <ruthanneb@mindspring.com> wrote:
Hi everybody.

I'm Ruth Anne Baumgartner, and the closest I've come to a period name is a
quickie Queen Ruthanna at a Medieval Banquet last Saturday evening. I've
been lurking on the list for a couple of months and am wild with admiration
and envy.

I was a college professor of English specializing (well, my training
specialized) in Elizabethan and Jacobean drama. I'm now part-time in a
couple of college English depts (the result of a forced strike, permanent
replacement of striking tenured faculty, and then a Rev. Moon take-over at
the University of Bridgeport, my former employers).

The "up" side of that is that seeking a creative outlet (part-time
teaching:teaching = baby-sitting:parenting, i.e. none of the long-range
planning and development!) I stumbled into theatrical directing. I've
directed at a few community theaters and one professional theater in
Connecticut, where I live.

I now chair the Board of Directors at one of the community theaters (Town
Players, Newtown), and there I've been directing a classic production every
summer, usually a !!!Shakespeare!!! or other Eliz or Jac drama (way to use
that training, girl!). That is, 6 Shakespeares so far, Beaumont's Knight of
the Burning Pestle, Jonson's Bartholomew Fair, and a parody I wrote called
The Revenge Tragedy: A Comedy. And because it's a community theater with
virtually no budget, I costume my own shows.

I think that although taking Shakespeare into other time periods or places
can once in a while produce something interesting, nothing fits the text and
preserves the timelessness better than Eliz/Jac costuming. Similarly, my few
excursions into later times (The Country Wife, The Rivals) cried out for
Restoration and Eighteenth-century costuming. Give the audience the world of
the play, not just the text. (We also add period songs and dances, thanks to
my own music background and a friend who teaches historical dance.)

Alas, budget and time constraints force a lot of compromises. I suppose it's
just as well, since neither the size of our stage nor the level of awareness
of our particular audience is really appropriate for full accuracy of style,
construction, and materials. My costumes (you can see some of them at
www.newtownplayers.org) go for the line rather than the detail, harmony of
color rather than authenticity of color, and "yore" rather than a precise
year or location. And, following the dictum of my own college theater
director that if the text is rich the production should be plain and if the
text is plain the production should be rich, I leave most of the
ornamentation for Shakespeare rather than trying to put it on the clothing.

With two and once in a while three sewing assistants and substantial help
from Simplicity, Butterick, McCalls, et al., I costume fifteen to
twenty-five actors in the space of five weeks. (The last few years have been
a little easier since I've built a collection that is becoming more and more
presentable and so can re-use a number of things from year to year.)

BUT I wish I had the knowledge, the skill, the patience, the budget, the
time, and the focus to mount, just once, an "authentic" production. Maybe
someday I'll be able to put to use some of the knowledge I'm gleaning from
you. My cap (of whatever period you choose) is off to you all!

Ruth Anne Baumgartner

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Genie here,
also a member of St Louis Costumer's Guild.  Strictly an amateur compared to most of the folks on this list.  Trying to complete an outfit for myself and my daughter for CC while recovering from CTS surgery.  Yes i should have started much sooner...

Snow fallen on snow,
      and this evening, the full moon of November
Basho

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From h-costume-bounces@indra.com  Tue Feb  3 10:48:12 2004
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Subject: [h-cost] Costume event in KC
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Since I noticed that some many folks on the list were in the midwest I
thought some of you might be interested in an SCA event this weekend. 
The Walk Through History is always my favorite :).

http://www2.kumc.edu/itc/staff/rknight/CS.htm 


Catherine
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Ok, another semi-lurker delurks :).

My name is Catherine Kinsey.  I have been an occasional poster on this
list for several years.  I learned to sew at my mother's knee, which
came in handy as I got involved in SF cons, Renfaires (KCRF, 25 years
and counting) and the SCA (Calontir), pretty much in that order.  I tend
to time travel with my wardrobe and since hubby is a performer at faire
I get to try a lot of styles (altho *3* Henry VIII outfits in a row was
enough!!!).   I also do a lot of embroidery and more recently have been
pulled into lacemaking.  I prefer the medieval, renaissance and
Elizabethan eras but love to scratch my historical costume itch with
information on just about any era, which makes me a natural for this
list :).  You folks are a wonderful inspiration!

Catherine/Liriel
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From: Sharon Greany <queensno2000@yahoo.com>
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Hello, I'm Sharon Greany. I live in Poulsbo, WA. Which is about 30 miles west of Seattle as the crow flies. I'm mostly a lurker.
 
I have been sewing since I was 12 years old. In College I started sewing for the Theater groups and have never stopped. My first love was the Victorian but have since moved on. I've sewing for theater companies for the pass 20 years but I found that the local theater groups didn't do enough period pieces to keep my imagination happy. Although last spring I did '1776' ( the musical) Which was huge. I think I went blind sewing on all those buttons. A friend got me interested in the SCA. about 5 years ago and I have been having a blast ever since. The SCA knows me as Altaliana de Segna, (Talia) and I hail in the Barony of Dragon's Laire. Although, between work, theater, (if I'm not costuming, I 'm on the stage acting silly) and family, I have little time to make myself things until just recently. 
 
I just finished a a 1560 Mourning Gown. Which I love ! Thanks to Kat's help, I bashed out the pattern quite well and have several people wanting me to help them make one. Of course at the time she was helping me, I had no Idea she was on this list. Small world. 
After the success of the Mourning Gown, I now have two more in the planning stages. All based on the late 16th century loose gown. (ropa) but I need to do more research before I can continue. The fun news is i just moved my sewing room from a 10 x 10 room to a 12 x 20 room and it's already full. I had no idea that I had stuff throw all over the house until I moved it into one room. Now the tuff part is making sure it stays in the room.
 
Sharon


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My name is Rebecca Brown, I live in Prescott, Arizona.  I have been
costuming for20 years but this is my first year selling through our website
and catalog.  Kind of scary, but liberating also.  My emphasis is Medieval,
but I have been working on some early Mongol and Turkish lately.  I don't
think I could ever just choose one area and stick to it.  My Andorian
costumes even won first prize at a Pasadena Star Trek convention a few years
ago and they are pictured in one of William Shatner's books.  No one could
accuse me of a lack of diversity!

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>>> wantstobecorsetted1@hotmail.com 2/2/04 6:15:54 PM >>>
>Well if it's a big deal I'm here as well......

>MKA Jacqueline J. Bump Oswego NY
>and I run a local chapter of the Adrian.

What is "the Adrian" please?



Kate Bunting
Library, University of Derby
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http://www.adrianempire.org/

Bice
=============================
On Ebay http://snipurl.com/3csb
http://my.lulu.com/kristalori
Elizabethan Ladies Calendar
Rolled Florentine Cap Pattern
www.swapking.com/hats
=============================
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Tuesday, February 03, 2004 12:13 PM
Subject: Re: [h-cost] who is here-ROLL CALL


> 
> >>> wantstobecorsetted1@hotmail.com 2/2/04 6:15:54 PM >>>
> >Well if it's a big deal I'm here as well......
> 
> >MKA Jacqueline J. Bump Oswego NY
> >and I run a local chapter of the Adrian.
> 
> What is "the Adrian" please?
> 
> 
> 
> 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 h-costume-bounces@indra.com  Tue Feb  3 13:04:09 2004
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I'm Allison Pace, mostly a lurker.  I live in Little Rock, AR, and am a 
voice-over actress by day.  I've been an actress and a sewer for many 
years, and I also like most types of craft work, whether it's props or 
hatmaking or jewelry.  My downfall is that I seem to want to do so 
much, I never quite finish anything.  I've got the requisite tonnage of 
fabric and supplies and books and plans to complete things, and I have 
trouble focusing!  Been doing mostly Renaissance 
(English/French/Spanish) stuff, but want to do some Italian Ren, am 
planning an 1870's Victorian, and would love an excuse to do a full-out 
18C set, complete with wig!  When I'm working for a theatre with 
low-budget costuming (or, in many unfortunate cases, a costumer who 
doesn't *get* it) I have been known to make/find my own costumes, or at 
the very least, take them home and alter them so they fit me.  Two or 
three years ago I discovered Renaissance Faires, and now I consider 
myself a historic costume geek.  I haven't found many like-minded folks 
with the time and interest to play with here, so I've been known to 
travel to other places for a fix.  (hint hint)  I'm always open to 
joining someone at a Ren Faire for the weekend!  I've been to one 
Costume Con, with no knowledge of just what to expect, but this year am 
drooling with anticipation.

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 Maggie Griggs - I do costuming, glove making, nalbinding and pretty much anything that strikes my fancy at the moment.  Still working to get the shoulder fit on Robin's fitted gothic pattern to come out just right.  In the SCA I'm known as Lyssa or The Honorable Lady Leofsige O Caoimh.  I live in Colorado or the Outlands depending to which list I'm posting.  Currently all the works in progress are on hold except one set of gloves that must be finished before Estrella.  Everything else will have to wait until I finish my final level of the VisionWorks International series, Horizons.  I generally lurk on the list and appreciate all the wonderful info that is shared.  I'm usually too far behind on a topic to contribute though.Maggie / Lyssa--- On Tue 02/03, &lt; h-costume-request@indra.com &gt; wrote:Franchesca V. Havas, glove maker, mommy of three, wife to one, friend to avery sweet kitty that the whole family is allergic to except me.SCA: Chiara Francesca Arianna d'OnofrioAm!
 tgard: Contessa Francesca d'Pisa bella note dolce vita Vecchio HavasGrande Corleon, sir(what can I say, I love my name *smile*)And no, hubby does not play at all, he is a tolerant sweet man. :)I like and make Elizabethan. I like starting most of my creations by handsewing them together to make sure of fit then reinforce them with machinestitching cause I have 3 kids that like to hang off my costumes, make mechase them, and men keep stepping on my train in hopes that I will pinchtheir butts (long story). I do not trust my hand sewing THAT much.My newest project, well three new projects, 1) recreating the phoenix dressby August, 2) sewing every Wednesday this year until all my fabric is gone,and 3) making armor to be a standard bearer at Gulf Wars (SCA)Chiara: &gt;: &gt; On Fri, 30 Jan 2004, Bjarne og Leif Drews wrote:: &gt;: &gt; &gt; I would like to know who is on the list at: &gt; pressent time.: &gt;

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I'm angelique. We live in the most southwestern part of Arizona. We are members of the SCA and do mostly tudor- to-baroque. I would really enjoy doing some historical costuming 1830's t0 1890's. I have three lovely children who don't mind mommy's historical clothing and in fact, wear most of it as everyday wear,lol. My husband is game for anything, as long as I made it. I loooooooooove this list. I have found more costuming info here than any other list period. Thanks for being here, Angelique


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Boy, lots of Northwest folks!  Sidne Kneeland.  In the SCA Estrelda named
after a street I used to live on Estrellita (little star), Saxon.  Does
anybody have any ideas about last names for Saxons?  Daughter of _occupation
name male_ or from_someplace cool_?  Mundanely, Vancouver WA.

Husband, three boys Viking.  Husband's motto, if you have a picture, I can
build it - includes metal, wood, boats, furniture, fire pits, trailers, etc.
Three cats, one Siamese (who is not JUST  cat thanks), one dog, one ferret.

Not much time to do costuming.  By the time I get the boys simple tunics
made for the hottest-day0of the summer event, they outgrow them, sigh.  Got
to meet Teddy in the UK though.  Is Teddy still with us?

Sidne

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From: "Diana Habra" <dch@inreach.com>
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Subject: [h-cost] Serious virus going around
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Sorry for the off-topic folks but I need to warn you all....

PLEASE update your virus filters as soon as you can!

The new virus going around is called Mydoom and it IS NOT a hoax.  There
is an article in my local paper about it today (The Contra Costa Times)
and I called my internet provider because I was having some weird e-mails
being sent to me.  It was like I was sending out spam mail and it was
being returned as undeliverable.  I think I got at least 40 e-mails that I
had to delete due to this problem.

The technician at Inreach Internet said that what the virus does is attach
to one or more addresses in your address book and send spam messages using
that e-mail.  The worst part (for me and others) is that my computer has
nothing wrong with it but I still have to deal with all of the stupid
messages.

So please urge your family and friends to update their virus definitions
so that you and others will be better protected from going through this.

Diana

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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Date: Tue, 03 Feb 2004 12:08:23 -0800
Subject: Re: [h-cost] roll call
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I'm Lynn Downward, from Oakland California. I came to sewing very young,
taught myself to crochet in high school at about the time I went to my first
renaissance fair. After visiting for a while, I joined in 1977 and finally
found my niche in the queens' court in 1980, where I learned to bead,
research and have lots of fun. I quit that faire after almost 25 years; we
didn't like where the company was taking the history part of the faire. We
still participate in the small fair at San Luis Obispo, and we hope to
attend the fair at Lake Tahoe this spring. We also participate in the
Dickens Christmas fair in San Francisco every November/December. I played in
SCA for almost a year in the '70s and decided it wasn't for me at the time.
I'm a member of Greater Bay Area Costumers Guild and CSA and have attended
Costume College in Van Nuys every July for the past four or five years.

My two main interests have always been Elizabethan England and Victorian
England from 1860-65, but I've been working on a bustle dress recently and
have just decided I have to make myself a middle-class German outfit of the
1560s after spending a day with the women of the Renaissance Military
Society. My husband and I met at faire, and our two daughters have been
raised participating in costume events all their lives, so there's lots of
encouragement to sew costumes in my house. I only make outfits for my
family. Even then, I have a full page of projects I want/need to complete in
2004.

We could never find the hats we wanted for whatever outfit we wore, so I
took millinery classes from several different teachers and discovered
another passion.

LynnD in rainy California
(but at least we don't have snow here)

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Subject: Re: [h-cost] who is here-ROLL CALL
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I'm here. ;)

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>>> skskaw@comcast.net 2/3/04 7:45:45 PM >>> wrote:

>Boy, lots of Northwest folks!  Sidne Kneeland.  In the SCA Estrelda
>named after a street I used to live on Estrellita (little star), Saxon.
 Does
>anybody have any ideas about last names for Saxons?  Daughter of
>_occupation name male_ or from_someplace cool_?  

According to "A dictionary of British surnames", Anglo-Saxons had only
one name, but sometimes acquired "by-names" from their occupation or
place of residence.

>  Got to meet Teddy in the UK though.  Is Teddy still with us?

I believe Teddy had to unsubscribe because his employer stopped him
from using his work computer for contacting the list.  (I've got away
with it so far, touch wood!)

Kate Bunting
Library, University of Derby
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Catherine Kinsey wrote:

> Since I noticed that some many folks on the list were in the midwest I
> thought some of you might be interested in an SCA event this weekend. 
> The Walk Through History is always my favorite :).
> 
> http://www2.kumc.edu/itc/staff/rknight/CS.htm 
> 

Catherine,

Is this in the same location as it was last year?



Dawn



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Subject: [h-cost] Roll Call
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Another Lurker, mostly!

Elizabeth Clark from Idaho Falls, Idaho, USA, in the foothills of the Rocky 
Mountains.  My chief era of interest is 1840-1865 for infants, children, and 
women.  I teach dressmaking, enjoy research, and really love whitework 
embroidery.  (My era is a bit late for most of this list, but I really enjoy 
the research aspect of the members!!)

Regards,
Elizabeth
http://www.elizabethstewartclark.com

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	<6.0.1.1.2.20040202231508.0217bec0@pop.radiks.net>
Subject: Costume design was: Re: [h-cost] Re: Roll call
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> Primarily science fiction/fantasy costumers; but as you all know, there
are
> NO original designs, so historical and ethnic info comes in really handy
> when designing fantasy costumes.

I wonder if they shouldn't start by teaching us the squares-and-rectangles
way of constructing clothing, and when that's well assimilated, move to
"modern" construction. That would follow more or less the evolution of
tailoring techniques. Building T-tunics really is useful in some way!
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Subject: Re: [h-cost] ROLL CALL
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Well, I wasn't going to answer because I thought it would turn out being an
insanely long list, but since so many people seem to think it not so insane,
I'll give it a shot.

My real name is Audrey and I'm 23. I live in Montreal, Canada. I'm known in
the SCA as Lady Alix de Minerve, and my bf is known in the SCA as Lothaire
Villon de Vézelay. I was to play an early 13th century French persona, but
I'm interested in too many time periods to stay there. Right now I'm
building a couple of Elizabethans, but I also want a burgundian houppelande
one day, and some 15th cent Italian, and some Cranach-style stuff, and then
a lot of later stuff: early 1800s France, King and I period, etc., even
though I have nowhere to wear those.

I discovered the SCA 3 1/2 years ago. That's when I began to sew on my own,
so you can see that my experience is very recent :-)
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> Elizabeth Clark from Idaho Falls, Idaho, USA, in the foothills of the
> Rocky Mountains.  My chief era of interest is 1840-1865 for infants,
> children, and women.  I teach dressmaking, enjoy research, and really
> love whitework embroidery.  (My era is a bit late for most of this
> list, but I really enjoy the research aspect of the members!!)

I'd say that you were probably about dead center regarding Era. While 
we end up talking about clothes from all time periods, there's a lot 
of interest in the pre-Civil War/Civil War period.

Kat
<kat@redtrollforge.com>


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Carolann Schmitt from historic Gettysburg, PA.  My main area of interest is mid-19th century: men's and women's civilian clothing, needlework, knitting and some embroidery.  I'm in my 16th year of teaching hands-on classes on clothing and needlework from 1850-1870, and am the organizer and sponsor of an annual conference on Civil War era civilian clothing and culture.  My mother says I never outgrew playing dress-up, and I believe you can never have too much fabric or too many books.

Carolann Schmitt
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 5-7, 2004
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] who is here-ROLL CALL
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Lyssa--is this the same Lyssa that I met thru Kelvin of Tyndale at Estrella ---Many moons ago???
Albra

"leofsige@iwon.com" <leofsige@iwon.com> wrote:
Maggie Griggs - I do costuming, glove making, nalbinding and pretty much anything that strikes my fancy at the moment. Still working to get the shoulder fit on Robin's fitted gothic pattern to come out just right. In the SCA I'm known as Lyssa or The Honorable Lady Leofsige O Caoimh. I live in Colorado or the Outlands depending to which list I'm posting. Currently all the works in progress are on hold except one set of gloves that must be finished before Estrella. Everything else will have to wait until I finish my final level of the VisionWorks International series, Horizons. I generally lurk on the list and appreciate all the wonderful info that is shared. I'm usually too far behind on a topic to contribute though.Maggie / Lyssa--- On Tue 02/03, < h-costume-request@indra.com > wrote:Franchesca V. Havas, glove maker, mommy of three, wife to one, friend to avery sweet kitty that the whole family is allergic to except me.SCA: Chiara Francesca Arianna d'OnofrioAm!
tgard: Contessa Francesca d'Pisa bella note dolce vita Vecchio HavasGrande Corleon, sir(what can I say, I love my name *smile*)And no, hubby does not play at all, he is a tolerant sweet man. :)I like and make Elizabethan. I like starting most of my creations by handsewing them together to make sure of fit then reinforce them with machinestitching cause I have 3 kids that like to hang off my costumes, make mechase them, and men keep stepping on my train in hopes that I will pinchtheir butts (long story). I do not trust my hand sewing THAT much.My newest project, well three new projects, 1) recreating the phoenix dressby August, 2) sewing every Wednesday this year until all my fabric is gone,and 3) making armor to be a standard bearer at Gulf Wars (SCA)Chiara: >: > On Fri, 30 Jan 2004, Bjarne og Leif Drews wrote:: >: > > I would like to know who is on the list at: > pressent time.: >

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Subject: Re: Costume design was: Re: [h-cost] Re: Roll call
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In a message dated 2/3/2004 4:22:43 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> Building T-tunics really is useful in some way!
> 

Besides, they can be beautiful. And what do you think a surgical scrub is? A 
short T-shaped tunic with a V neck.

There will always be a head, a torso, two arms and 2 legs. The rest is just a 
matter of how fitted or full one wants parts and where, top, bottom, all 
over, nowhere.
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Subject: Re: [h-cost] who is here-ROLL CALL
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I am a bit late...  Sorry.

My real name is Shannon McSmith, although I don't like it much, so I use my nickname, which is Kit.  I am an active member of the SCA.  I have done American Civil War Re-Enactment, Regency and Victorian stuff as well.  I am a brunette of medium height who loves quiet evenings in front of the fire, fabric stores and a man who isn't afraid to cook.  I am an aries...  (Come on, I couldn't resist.  Although, I am sure someone else has done it already.)

Although, my mother will tell you that she despaired of my ever learning to actually sew.  I loved to design and cut out projects, but her machine hated me, so I never finished anything. (Honest to God, that machine would tangle when I walked into the room.)  But I started out making horse blankets for my Breyer horses.

I started costuming for the Costume-Nazi Drama Teacher I had in High School.  She loved really period looking costumes, so that was what I started doing and just never stopped.  That being said, my hobbies have always revolved around getting to dress in "funny" or different clothing.  Although, I have recently started making my own clothes for the real world as well.

I work at UC Davis, and make extensive use of their library for my own personal research on the late Middle Ages, Renaissance & Elizabethan Eras, and the Napoleonic Era  through the end of the 2nd World War.  Although, I am not very interested in it, I am learning a new appreciation for the English Civil War clothing.  I teach classes within the SCA on costuming and embroidery as well, as other items and am working on teaching in other forums as well.

Along with being interested in historical clothing, I love fashion and completely believe in the line "The only thing that separates us from the animals is our ability to accessorize."

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cola
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I am a bit late...  Sorry.

My real name is Shannon McSmith, although I don't like it much, so I use my nickname, which is Kit.  I am an active member of the SCA.  I have done American Civil War Re-Enactment, Regency and Victorian stuff as well.  I am a brunette of medium height who loves quiet evenings in front of the fire, fabric stores and a man who isn't afraid to cook.  I am an aries...  (Come on, I couldn't resist.  Although, I am sure someone else has done it already.)

Although, my mother will tell you that she despaired of my ever learning to actually sew.  I loved to design and cut out projects, but her machine hated me, so I never finished anything. (Honest to God, that machine would tangle when I walked into the room.)  But I started out making horse blankets for my Breyer horses.

I started costuming for the Costume-Nazi Drama Teacher I had in High School.  She loved really period looking costumes, so that was what I started doing and just never stopped.  That being said, my hobbies have always revolved around getting to dress in "funny" or different clothing.  Although, I have recently started making my own clothes for the real world as well.

I work at UC Davis, and make extensive use of their library for my own personal research on the late Middle Ages, Renaissance & Elizabethan Eras, and the Napoleonic Era  through the end of the 2nd World War.  Although, I am not very interested in it, I am learning a new appreciation for the English Civil War clothing.  I teach classes within the SCA on costuming and embroidery as well, as other items and am working on teaching in other forums as well.

Along with being interested in historical clothing, I love fashion and completely believe in the line "The only thing that separates us from the animals is our ability to accessorize."

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cola
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Kitsune242@aol.com said:
> But I started out making horse blankets for my Breyer horses.

     Oh, too funny - I used to make blankets & little costumes for my Breyer 
horses, too!

     Hello, my name is Carol and I'm a fabriholic.  I've been fabric-purchase 
free for three weeks now, and that was polyester so it's not like it really 
counts anyway.

     I think I started my costume activities dressing Barbies & also learned to 
sew for myself, went through the frustration of home-ec classes until I figured 
out I didn't have to listen to absolutely everything the teacher said, and did 
better from there on.

     In college I played with the Markland Medieval Mercenary Militia, and also 
enjoyed the Rocky Horror Picture Show which allowed me the fun of trying to 
make corsets.  I also played in the SCA and eventually made my way into the 
American Revolution, with a bit of French & Indian War era and a little Civil 
War thrown in.  I've also been to a few Costume Cons, but found I preferred 
events where I could do things in historic dress.

     Somewhere in there I started researching 18thC hosiery, have visited 
several collections in the US and England, and have developed a slide lecture 
on the topic.  I actually got to give it at the Smithsonian, for one of their 
Thursday afternoon programs!  That was lots of fun.  I spent a month in England 
learning to use a knitting frame (the machine that Lee invented, not a peg 
board).  Lots of grease, lots of adjustments with pliers, not many stitches 
actually knit!  I marvel that some people could turn out knit goods at a good 
rate with the frames.

     I'm in Maryland, the suburbs of Washington, DC.

     -Carol

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After seeing so many members chime in, I thought I'd join the group.

My name is Richard Harper, and I live in Grand Rapids, MI, a recent transfer 
from New York City.  My costuming interests are varied, but I'm probably 
most skilled at Elizabethan men's tailored garments.  I'm Master Henry 
Kersey of Devon in the SCA and I love doing late Renaissance, but have 
developed an interest in 18th century and late Victorian clothing.

I have been sewing since I was a kid and was first taught by my grandmother. 
  Later I took classes and studied at the Fashion Institute of Technology in 
NYC for awhile, in the incipient haute couture certificate program.

I would love to find some folks around my area who share an interest in 
Victorian/18th century -- but as far as costuming is concerned, it's all 
good!

Richard


"A positive attitude may not solve all of your problems, but it will annoy 
enough people to make it worth the effort" - Herm Albright

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From: "Joanna Hobbins" <jhobbi2@po-box.mcgill.ca>
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> Hi all,
>
> I'm Joanna Hobbins, full time lurker, occasional poster (when my emails
> don't bounce back ).  I'm a full time student at McGill in Montreal,
Quebec
> (geophysics).  I'm pretty much a Jack-of-all-trades.  I do some
costuming -
> mostly 12th century, weaving, crochet, lace-making (needle and bobbin),
> tatting, cross-stitch, jewellry-making, carpentry, armour-smithing,
> leatherwork, and that's when the weather is not nice enought to go rock
> climbing or hiking or kayaking or cycling or ...
>
> I'm peripherally involved in  a 10th-12th century group called Les
guerriers
> du montagne a branch of Bicolline which is the francophone quebec version
of
> the SCA.
>
> cheers,
>
> Joanna
>

take 2  - I was serious about bouncing emails


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OK, you've convinced me to  add to this.  I may be the lurker who's lurked the longest.  Like Penny, I think I've been here since '96 * it's so long ago, I can't remember.  I lurk because keeping up with reading this list is about all I can do and because everyone else has so much more knowledge than I do.

I live in Morgantown, West Virginia, and I've been sewing since I was 11.  My mother taught me to sew, embroider, and crochet.  I have a BS in Home Economics Education from (ahem) a long time ago. I spent the 80's as Costume Mistress for a semi-professional ballet company.  This inspired me to spend the 90's working on a  Masters in Theatre-Costume Design (I finished in May 2002, taking 12 years to do so). But I am not currently working in the field, I work full time in West Virginia University Library.

I am somewhat of a generalist as it comes to study, but my absolute favorite periods are from 1885 to 1935, especially Aesthetic and Reform, World War I, and the Twenties.  I have studied all periods of corsets a good bit, and you all have helped me so much, but I haven't actually gotten around to building one yet with my own two hands.  I am currently researching the Hungarian Szur, hoping to make one for myself using a piece of Wool/Cashmere that I bought from Fabric.com, and filling it up with embroidery.

In future I hope to work more on methods of fabric dyeing, historic and fantasy dolls, and stumpwork embroidery--along with some heavy-duty home remodeling that is long, long overdue.  

At WVU our theses are online and, if anyone is interested, mine can be seen and read at: 

http://oldetd.wvu.edu/templates/showETD.cfm?recnum=2482

Or search by Kathleen Hoover and "Costume Design for 'The Emperor's New Clothes' by Charlotte Chorpenning"

I hope this link works - they are changing the site around...
It was done for children's theatre, or course, and was set in Ancient China.  

I will slink back into my cave now......bye......
Kathy



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Subject: Re: Costume design was: Re: [h-cost] Re: Roll call
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In a message dated 2/3/2004 4:22:43 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:
I wonder if they shouldn't start by teaching us the squares-and-rectangles
way of constructing clothing
Don't know about anyone else, but this is how I first made doll clothes.  
Take a length of fabric, double it over, and cut a hole for the head!
Ann Wass
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Subject: Re: [h-cost] Seeking glas
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> D'oh.  I should've thought of this.  Look in the floral department.
> There should be bags of of half-round pebbles.  You can usually get
> them in different colors, including iris and aurora borealis finishes.
> They're not quite as uniform as the glass cabs I more normally buy,
> but if I need a whole lot of that particular size, you bet I go buy
> a big bag for $3.

I had assumed glass nuggets would be too big, but if they'll work I buy a lot 
of my stained glass supplies from http://www.whittemoredurgin.com .  Head to 
the online catalog and click on "Preformed Glass".  They have quantity 
discounts, so see if you can get a friend to order with you :) .

They also have glass jewels in the same section, but the only thing I've used 
those for was the eyes on a glass dragon music box, and the two I needed came 
with the supplies package, so I can't really judge their selection.

Leah
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Subject: [h-cost] regency underclothes?
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I have been taking Regency dance classes for seven months but it occurred to me only last Sunday that I'm going to need a ballgown.  I've found a very good corset-maker who lives near me and am planning to have my dressmaker make my other underthings, but I am having trouble figuring out exactly what these should be.  I know drawers (and I am opting for them) come first, then either a shift or (my dressmaker tells me) a sort of bodiced petticoat, then the corset.  Were bodiced petticoats commonly worn under corsets?  I have very few of my books here (in my dormitory room) and I am having trouble finding images online.  I do see what seem to be ankle-length chemises, but it does not look like they have seperate bodices.  Is this about right?  I also see normal thigh-length shifts.  I do think I would like to have a petticoat to go over my corset.  Do these have fitted bodices or are these garments a more modern invention.  I know that such a layer was generally worn under filmy dresses at least, but what did it look like?  In general, do you think it is preferable to go with a short or long chemise, and what should I do for a petticoat.  I have not done much research in this era.  Thank you for any help
Alexia
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Subject: Re: [h-cost] regency underclothes?
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Wasn't this one of those eras that they wore very few undies? Was this the
wetting gowns period in our glorious fashion history? I think a simple shift
is your best bet.

B~
----- Original Message ----- 
From: "Alexia S. Jacobs" <asj2001@columbia.edu>
To: <h-costume@net.indra.com>
Sent: Tuesday, February 03, 2004 8:06 PM
Subject: [h-cost] regency underclothes?


I have been taking Regency dance classes for seven months but it occurred to
me only last Sunday that I'm going to need a ballgown.  I've found a very
good corset-maker who lives near me and am planning to have my dressmaker
make my other underthings, but I am having trouble figuring out exactly what
these should be.  I know drawers (and I am opting for them) come first, then
either a shift or (my dressmaker tells me) a sort of bodiced petticoat, then
the corset.  Were bodiced petticoats commonly worn under corsets?  I have
very few of my books here (in my dormitory room) and I am having trouble
finding images online.  I do see what seem to be ankle-length chemises, but
it does not look like they have seperate bodices.  Is this about right?  I
also see normal thigh-length shifts.  I do think I would like to have a
petticoat to go over my corset.  Do these have fitted bodices or are these
garments a more modern invention.  I know that such a layer was generally
worn under filmy dresses at least, but what did it look like?  In general,
do you think it is preferable to go with a short or long chemise, and what
should I do for a petticoat.  I have not done much research in this era.
Thank you for any help
Alexia
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Subject: Re: Costume design was: Re: [h-cost] Re: Roll call
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And not exactly a propos of nothing, how many of you remember basic geometry
in calculating the circumference of a circle from knowing the diameter. Best
formula that I ever memorized!

Kathleen
----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, February 03, 2004 4:05 PM
Subject: Costume design was: Re: [h-cost] Re: Roll call


> > Primarily science fiction/fantasy costumers; but as you all know, there
> are
> > NO original designs, so historical and ethnic info comes in really handy
> > when designing fantasy costumes.
>
> I wonder if they shouldn't start by teaching us the squares-and-rectangles
> way of constructing clothing, and when that's well assimilated, move to
> "modern" construction. That would follow more or less the evolution of
> tailoring techniques. Building T-tunics really is useful in some way!
> _______________________________________________
> 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>
References: <200402032318.i13NInj7007766@jefferson.patriot.net>
Subject: Re: [h-cost] who is here-ROLL CALL
Date: Tue, 3 Feb 2004 21:13:37 -0500
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And after a hard day of designing and sewing up Ren costumes, I too have
done horse blankets..in the mode of emergency service for a mundane
customer.  I have a great sewing machine!!
Kathleen
----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, February 03, 2004 6:18 PM
Subject: Re: [h-cost] who is here-ROLL CALL


> Kitsune242@aol.com said:
> > But I started out making horse blankets for my Breyer horses.
>
>      Oh, too funny - I used to make blankets & little costumes for my
Breyer
> horses, too!
>
>      Hello, my name is Carol and I'm a fabriholic.  I've been
fabric-purchase
> free for three weeks now, and that was polyester so it's not like it
really
> counts anyway.
>
>      I think I started my costume activities dressing Barbies & also
learned to
> sew for myself, went through the frustration of home-ec classes until I
figured
> out I didn't have to listen to absolutely everything the teacher said, and
did
> better from there on.
>
>      In college I played with the Markland Medieval Mercenary Militia, and
also
> enjoyed the Rocky Horror Picture Show which allowed me the fun of trying
to
> make corsets.  I also played in the SCA and eventually made my way into
the
> American Revolution, with a bit of French & Indian War era and a little
Civil
> War thrown in.  I've also been to a few Costume Cons, but found I
preferred
> events where I could do things in historic dress.
>
>      Somewhere in there I started researching 18thC hosiery, have visited
> several collections in the US and England, and have developed a slide
lecture
> on the topic.  I actually got to give it at the Smithsonian, for one of
their
> Thursday afternoon programs!  That was lots of fun.  I spent a month in
England
> learning to use a knitting frame (the machine that Lee invented, not a peg
> board).  Lots of grease, lots of adjustments with pliers, not many
stitches
> actually knit!  I marvel that some people could turn out knit goods at a
good
> rate with the frames.
>
>      I'm in Maryland, the suburbs of Washington, DC.
>
>      -Carol
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
>

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From h-costume-bounces@indra.com  Tue Feb  3 21:12:39 2004
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Subject: Re: [h-cost] who is here-ROLL CALL
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I suspected there were a great many SCA types on this list, and I was right.  
But I'm impressed at the number of you who dabble in many different eras.

I'm firmly fixed in the early 19th century and prefer the 1810s, and I want 
LOTS of clothes for that one period.  I work at a historic house museum, 
Riversdale, in Riverdale Park, Maryland, where we do occasional costumed 
interpretation.  I also volunteer at Ft. McHenry in Baltimore.  I was a washer woman 
there a couple of years but now prefer gentry.  At Riversdale, I'm usually Anne 
Llowndes, friend of Rosalie Calvert, the mistress of Riversdale.
I also had great fun two years ago portraying a milliner every Sunday for 5 
weeks during the run of our costume exhibit.

I try to do something a little different with each project to keep it 
interesting.  I really enjoy making hats and reticules and collecting other 
accessories--I have a drawer full of thrift store gloves.  (I stocked the milliner's 
shop almost single-handedly.)

My husband occasionally interprets, too, and I've finally stopped being upset 
when he says I'm his Ken doll.

After I got my Ph.D. in historic costume and textiles from the University of 
Maryland, I tuaght part time, worked at Hancock Fabrics as a district home 
economist and then management trainee (quit that because the pay isn't worth the 
aggravation) and was a stitcher in area costume shops (quit that because it's 
a young person's gig--besides, I would rather wear what I make.)

I also sew square dance dresses--my husband is a caller--but these are quick 
and easy projects where I just play with fabrics and trims.  And now I have 
two granddaughters to sew for, too.  Made the older a princess outfit last year.

I am truly trying to limit my fabric purchases and am doing pretty well.  I 
try to use what I have and usually need to go to the fabric store only for 
thread, buttons, or something else small.

Ann
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Date: Tue, 3 Feb 2004 18:22:53 -0800
Subject: Re: Costume design was: Re: [h-cost] Re: Roll call
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Is that Pie 'R Squared?

Even though pies are well, pie shaped, and not square ....  :D
Althea

On Tuesday, February 3, 2004, at 06:09 PM, Lloyd Mitchell wrote:

> And not exactly a propos of nothing, how many of you remember basic 
> geometry
> in calculating the circumference of a circle from knowing the 
> diameter. Best
> formula that I ever memorized!
>
> Kathleen
> ----- Original Message -----
> From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, February 03, 2004 4:05 PM
> Subject: Costume design was: Re: [h-cost] Re: Roll call
>
>
>>> Primarily science fiction/fantasy costumers; but as you all know, 
>>> there
>> are
>>> NO original designs, so historical and ethnic info comes in really 
>>> handy
>>> when designing fantasy costumes.
>>
>> I wonder if they shouldn't start by teaching us the 
>> squares-and-rectangles
>> way of constructing clothing, and when that's well assimilated, move 
>> to
>> "modern" construction. That would follow more or less the evolution of
>> tailoring techniques. Building T-tunics really is useful in some way!
>> _______________________________________________
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>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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Subject: Re: [h-cost] regency underclothes?
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In a message dated 2/3/2004 8:46:53 PM Eastern Standard Time, 
wantstobecorsetted1@hotmail.com writes:
Was this the
wetting gowns period in our glorious fashion history? I think a simple shift
is your best bet.
The wetting of gowns seems to have been a myth, based on very little 
evidence.  Some very daring French women evidently went with minimal underclothing, 
but most wore several layers.  The book republished as "Regency Etiquette," 
originally "The Mirror of Graces," has info on underwear, as does the Cunningtons' 
book, "History of Underclothes."
>From the skin out, a Regency woman wore a shift, usually with shorter, more 
narrow sleeves than the 18th century model, then a corset, then some style of 
petticoat (but usually NOT drawers--women were just beginning to wear drawers 
and some ladies seem to have regarded them with some trepidation--but I'm not 
that authentic).  The Cunningtons owned a bodiced petticoat that is 
photographed in their book.  I have also seen examples with simple tape shoulder 
straps--something is almost a necessity to keep the petticoat at the high waist.  Some 
of the very sheer dresses evidently had their own "slips" (more what we would 
call an underdress) of a peach or pink tone to suggest a nude look.
The Lady of Distinction, author of "Mirror of Graces," recommended a flannel 
(that is, wool) petticoat for English winters, in addition to the linen or 
cotton one.  I could have used one in New Orleans last January--it was so cold 
and damp!

Ann Wass
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In a message dated 2/3/2004 9:16:08 PM Eastern Standard Time, 
althea@alfalfapress.com writes:
Pie 'R Squared?
That's the area of a circle--c=pi*d.  But twice I confused the radius and 
diameter and ended up with a circle twice as big as it should have been!

Ann Wass
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Subject: Re: [h-cost] ROLL CALL
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Greetings!

A roll call, huh?  I've been so frantically busy regarding work issues I've
been pretty much just not even lurking, been basically deleting anything
that did not pertain directly to work.

But now, I think, I'll raise my hand for roll call.

I am Gia Gavino, live currently in Renton, WA.  Currently I work at the UW,
College of Architecture and Urban Planning and on medical
leave...indefinitely.  Right now I'm trying to recover from mental and
emotional issues (regarding employment) so you might not hear from me again
for awhile.

I love sewing and textile arts of most kinds.  I love to knit, but don't
expect me to make anything knitted! My paternal grandmother taught me how to
do the basics, but apparently she taught me the 'old german' (as my
disgusted mother told me) method.  I never did get beyond those basics.  My
grandma also taught me how to crochet and embroider.  Both of which I still
do occassionally.

I taught myself how to sew on my mom's old black singer at about 8 yrs old.
Forwards, backwards and a klunky bulcky attachment for buttonholes.  But
that ol' buttonholer made the *best* buttonhoes.  Sure miss that old
machine!  I've got a nice Pfaff sewing machine, and and a serger. I use the
Pfaff alot.  I used to use the serger alot, but it needs some 'tweaking'...

At about 11 I taught myself how to read a pattern and made a princess seamed
aline sleeveless dress (in america called a jumper) with a long zipper in
the back.  It was fully lined pale pink wool.  The apron I made in home ec
was anticlimatic, and the teacher kept on making me rip out things and do
things her way.

My mom washed my pink jumper and ruined it.

Anyhow, now I play in the SCA, Kingdom of An Tir.  I've just changed name,
persona and everything.  I used to be called  HLGiacinta da Venezia with an
Italian persona, but now I'm Bantiarna Emer O' Tighearnigh 'Atha An Ri, with
an Irish Persona.

Costuming and textiles, research and construction, are my passion.  Every
period, every geographically known area.  I love to hand stitch garments I
make, but time constraints often make that impossible.  Embroidery and
weaving and spinning are wonderful stress reducers, and my hand speciallist
doctor has finally allowed me to start doing "modern" needle point again.  A
friend is teaching me card weaving, but that's on hold (along with the
embroidery, weaving and spinning) until my doc says I can do that again.

My absolute favorite garment I've ever made is my Green and Gold Italian
Ren, completely hand stitched; even the linen chemise!  Working on that just
*rocked*!

I've got another gown (gray wool) that I've made completely hand
stitched...even the yards and yards of trim that I applied.  I've got a
farthingale that I machine sewn the side seams and waist-band, but I hand
stitched in the 'boning' around the skirt, top to bottom.  And I love the
'pair of bodies' silk and linen corset I made, also hand stitched with the
boning hand stitched.

My experiences of handsewing the the boning in makes the chanels 'tighter'
and thus the boning is 'firmer'.  But that is only my personal experience; I
tend to stitch a fairly small backstitch when I do this.

Anyhow, I'm looking forward to more research and garment making as I change
to an earlier and different geographical locale.

Happy stitches everyone!
Gia/Emer

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Subject: Re: Costume design was: Re: [h-cost] Re: Roll call
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In a message dated 2/3/2004 9:21:30 PM Eastern Standard Time, 
AnnBWass@aol.com writes:

> That's the area of a circle

Indeed!


--c=pi*d.  

Or as we learned it...2pr


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Subject: Re: [h-cost] ROLL CALL
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At 8:18 PM +0000 2/3/04, Kate M Bunting wrote:
>  >>> skskaw@comcast.net 2/3/04 7:45:45 PM >>> wrote:
>
>>Boy, lots of Northwest folks!  Sidne Kneeland.  In the SCA Estrelda
>>named after a street I used to live on Estrellita (little star), Saxon.
>  Does
>>anybody have any ideas about last names for Saxons?  Daughter of
>>_occupation name male_ or from_someplace cool_? 
>
>According to "A dictionary of British surnames", Anglo-Saxons had only
>one name, but sometimes acquired "by-names" from their occupation or
>place of residence.

There's a delightfully exhaustive work on the topic:

Tengvik, Goesta.  1938.  Old English Bynames.  Almqvist & Wiksells 
Boktr, Uppsala.

Not exactly the easiest book to get one's hands on, but pretty much 
the definitive word.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****

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The dates are April 2-5, 2004.
Their site is www.cc22.org

Karen
another lurker, who is working with Genie (and *many* others) on outfits 
for the Historical masquerade


Penny Ladnier wrote:

>Sandy,
>
>What are the dates for Costume Con in Atlanta?  Do you have the URL for
>their site?
>
>Penny E. Ladnier
>


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Karen,

What are you working on?  I am working tonight to put online the Butterick
pattern catalogs from 1897 & 1900.  I am getting ready to put online the
descriptions of different types of masquerade balls.  I never realized there
were so many different types of masquerade parties. The first part of the
party descriptions should be up in the Library tomorrow.  Bless Kimiko's
heart, she emailed me immediately when these catalogs came up for auction
last summer.  The fantasy costumes in the catalog are so fun!  There are
several historic costume patterns in the catalog.  I would love to know how
historically accurate they are.

We also have another article in the working process about a masquerade ball
that Queen Victoria gave in 1845.  The illustrations are beautiful!!!  This
long article was in a London newspaper. The newspaper article is two LARGE
pages long.  It has wonderful detailed descriptions of all the society
people's costumes, listed by name.  The font type size is so small it is
driving us crazy.  But the illustrations are large.

The Mardi Gras season was where I got my first love for costuming.  I miss
Mardi Gras so much every year.  The only time I wished I lived back on the
Gulf Coast again... well, shrimping season is another reason.

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


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Bjarne,

Are you working on any costumes for carnivale this year?

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

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Subject: [h-cost] Re: regency underclothes?
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    The correct undergarments for Regency is either no drawers or the two
legs on a string type. (I recommend The Mantua-Maker Regency drawers.)
Stockings, over the knee, white, tied with a garter. Chemise is different
from the Georgian chemise, with short cap sleeves, large square neck. (I
recommend the Kannik's Korner chemise.) Followed then by a corset, which is
long, creates that cylindrical overall shape with a very definite lift and
separate to the bust. (I recommend The Mantua Maker Regency corset.) You can
take a gander at all the patterns through our website if you wish. There
then is debate as to whether a slip was worn over the corset. Seems
sometimes yes, sometimes no. Suppose it depended on the woman and the
occasion.

    There is some evidence a bodiced chemise was used (as in the La Mode
Bagatelle pattern), but it seems to have been as rare as hen's teeth. There
is also some evidence a short bra-like version of long corset was worn, but,
again, it's as rare as hen's teeth. There is also even more scant evidence a
very soft construction bra-like thing (think of two pennants wrapped around
you) was used, but again, those hen's teeth come into play.

    The supposition that scant or no underclothes were worn is myth. We have
little hard evidence such was the case.

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

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In a message dated 2/3/2004 9:56:51 PM Eastern Standard Time, 
gia_gavino@comcast.net writes:
Forwards, backwards and a klunky bulcky attachment for buttonholes.  But
that ol' buttonholer made the *best* buttonhoes.  
The buttonhole attachments do make nice buttonholes--my mom finally got one 
for her old White Rotary.
But I finally got a Bernina, and it makes wonderful buttonholes, too.  Most 
machines sew down one side and then backwards up the other, which means the two 
sides don't really look the same.  The Bernina, though, straight stitches 
backwards up the second side and then zigzags back down to give an attractive 
result.  It also has the "finger" on the bobbin case so you can get more tension 
on the bobbin thread and it won't show on the right side (which feature I 
forgot last time I made buttonholes).  And my favorite feature of all--the 
optional "optical" buttonholer--you make one buttonhole the size you want and then it 
makes all the rest identical.  Of course, the old buttonhole attachments with 
templates did this, too, but you were limited to the size of the templates.

A confession--I always say I am going to handstitch over the buttonholes on 
my husband's Regency-era coats, but haven't gotten around to it yet.  I have 
difficulty making buttonholes by hand as the thread always twists and tangles.  
I finally figured out that it must be because I am left-handed, and the twist 
in the thread is the wrong way for me.  And of course it is fatal if the 
thread knots up in the middle of a buttonhole--not much choice but to rip out and 
start over, so that may be part of my reluctance.

Ann Wass
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Subject: [h-cost] Costume event in KC
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Yup, Center of Grace in Olathe, KS.  This is a suburb a little SW of the
greater Kansas City area.  Site is pretty easy to get to off of I-35, I
think it is near the Great Mall of the Plains (Or as some of us call it;
 BAMOOOO  (Big A$$ed Mall of Olathe :) ).  I am teaching a class on lace
(pray for me Bjarne!).

Catherine

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> Since I noticed that some many folks on the list were in the midwest
I
> thought some of you might be interested in an SCA event this weekend.

> The Walk Through History is always my favorite :).
> 
> http://www2.kumc.edu/itc/staff/rknight/CS.htm 
> 

Catherine,

Is this in the same location as it was last year?



Dawn

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Subject: Re: [h-cost] Renfaire season 
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http://www.scarboroughrenfest.com/
Open April 10 just 45 miles So of Dallas.
http://www.ntif.org

March 6-7 downtown Dallas at Fair Park.
 


 --- Allison <allivox@comcast.net> wrote: > I'm
Allison Pace, mostly a lurker.  I live in Little
> Rock, AR, and am a 
> voice-over actress by day.  I haven't found
> many like-minded folks 
> with the time and interest to play with here, so
> I've been known to 
> travel to other places for a fix.  (hint hint)  I'm
> always open to 
> joining someone at a Ren Faire for the weekend! 
> I've been to one 
> Costume Con, with no knowledge of just what to
> expect, but this year am 
> drooling with anticipation.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
>
http://mail.indra.com/mailman/listinfo/h-costumeme@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Seńora Catalina
Aurum peccamenes multifariam texit


	
	
		
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Catherine Kinsey wrote:
> Yup, Center of Grace in Olathe, KS.  This is a suburb a little SW of the
> greater Kansas City area.  Site is pretty easy to get to off of I-35, I
> think it is near the Great Mall of the Plains (Or as some of us call it;
>  BAMOOOO  (Big A$$ed Mall of Olathe :) ).  I am teaching a class on lace
> (pray for me Bjarne!).
> 
> Catherine

I will be there, weather permitting, with a load of costume and SCA 
related books for sale. I am dragging some friends down and though I 
don't know which classes I'll take yet, I think between the three of us 
we can cover most of them. :)



Dawn


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At 09:19 PM 2/3/2004, Kathleen Mitchell ("Lloyd Mitchell" 
<rmitchell@washjeff.edu>) wrote:

>And not exactly a propos of nothing, how many of you remember basic geometry
>in calculating the circumference of a circle from knowing the diameter. Best
>formula that I ever memorized!

Remember, pi r ROUND. CORNBREAD r square (or at least rectangular)!

<g, d, rlh>



Brenda
webwarren@earthlink.net


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Subject: [h-cost] More good books
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Just got my latest fashion/needlework gleanings from E.Hamilton, bookseller. These were great picks.
Fashion Mode 1500-1954,l'Aventurine.published 2002 in Italy, Paris, and Russe. It is quad lingual.  Lots of picture sources that I haven't seen elsewhere.
Medieval and Tudor Needlecraft by Sandra whitehead.2002, Guild of master craft.  This is really a doll book with knights and ladies in 1/12 scale.However the needlecraft patterns and instructions are for real! Wonderful patterns.
Braided cross Stitch by Art Salemme,Sterling Pub. Co. NY.1989.  After the discussion a couple of weeks ago here on the list, I was intrigued by the concept.  To my somewhat experienced eye re embroidery, this book has great directions for the various stitch configurations.  It is filed with not very great projects for the costumer, but marvelous for technique . 
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Lloyd Mitchell wrote:
> 
> Fashion Mode 1500-1954,l'Aventurine.published 2002 in Italy, Paris, and Russe. It is quad lingual.  Lots of picture sources that I haven't seen elsewhere.

Agree that the pics are great, and fresh. However many are clearly 
mis-labelled as to the year, so be careful and check your images against 
other sources.

BTW, the title is simply "Fashion", the French title is "Mode", and it 
is on the cover with the Russian title, in Cyrillic, which has resulted 
in confusion by a lot of booksellers.

Minor rant: why can't this industry come up with better titles? Can you 
imagine what technical research would be like if 90% of the books in 
that field were called "Computers"?



Dawn


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Thanks for the reminder.  I have only glanced at the contents at present.
This strikes me as being a lot like its ' sisters' published in this time
period.  I suspect the mis-dating is the result of sending the whole off to
press in order to get in on the band wagon of apt-to-be popular topics of
that year(2002) There were a couple of Deutch origin published at the same
time that also have mislabeled items by more than a decade. ( And I have
seen the results of that, in a couple of small museums that use such a
volume as proof for dating items in their collections.)
However, having a fair library of magazines from the 19th C, I am always
looking for additional illustrations that I might miss otherwise. Thus,'
Modes' will add some good stuff to my list.
Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 04, 2004 1:41 PM
Subject: Re: [h-cost] More good books


> Lloyd Mitchell wrote:
> >
> > Fashion Mode 1500-1954,l'Aventurine.published 2002 in Italy, Paris, and
Russe. It is quad lingual.  Lots of picture sources that I haven't seen
elsewhere.
>
> Agree that the pics are great, and fresh. However many are clearly
> mis-labelled as to the year, so be careful and check your images against
> other sources.
>
> BTW, the title is simply "Fashion", the French title is "Mode", and it
> is on the cover with the Russian title, in Cyrillic, which has resulted
> in confusion by a lot of booksellers.
>
> Minor rant: why can't this industry come up with better titles? Can you
> imagine what technical research would be like if 90% of the books in
> that field were called "Computers"?
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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I'm Helen Pinto, and mostly lurk, occasionally surfacing to post pictures,
tools, and resources.  I was a scenery/costume design major at uni a long
time ago (30+ years) and got to do everything from Roman to Baroque.  I fell
into the SCA around the same (known as Aidan ni Leir) and worked my way
through Kohler back in the old days.  It's great how many more (and better)
resources there are out there now.  I left the academic theatre world for
the warmer, more nurturing environment of the business community...

Costuming is not my main focus, but I still do a bit, mostly early, and will
go off chasing any topic that catches my interest.  These days I'm a
bookbinder and C&I; currently obsessed with writing implements (want to know
all about Renaissance pencils?...)  Then there's the early woodwinds,
jewelry, hand-weaving (mostly narrow-wares), and too many other hobbies, all
of which now compete for my time with the joys of home ownership...   I am
finally sorting through the fabric that was mostly in storage and trying to
get it under control.  Or at least into one room.  And stop getting more.
And finish the interview wardrobe.

Thanks to everyone who posts links to their work; it's lovely to look at and
much of it is masterful.  But looking at all that corsetry just makes me
want to go and make another hangerrock.
                                                       -Helen/Aidan


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From: Ella Lynoure Rajamaki <lynoure@tuug.fi>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: who is here-ROLL CALL
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I'm Lynoure. I'm located in Helsinki, Finland and make all sorts of 
costumes historic and not, for fun and food. :)  My periods of most 
interest at the moment are Elizabethan and Edwardian.


-- 
Lynoure Rajamaki
lynoure@tuug.fi
http://www.lynoure.com

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Subject: Re: [h-cost] who is here-ROLL CALL
Date: Wed, 4 Feb 2004 14:33:09 -0500
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Hello!

My name is Sheridan (aka Maiwen), and I am also a member of the SCA (9 years
and counting...) . Although I also have interest in other periods, I have no
other outlet to wear those outfits. :-(  My Grandma used to let me play with
her black iron Singer and I inherited a love of vintage clothing and sewing
from her and my Mother.

As well as enjoying playing dress-up in historical clothing I also dance
semi-professionally - Middle Eastern. This helps to feed my magpie love of
sparkly shiny fabrics, beads and jewels. :-) My closet has more costumes
than 'real' clothes; I have almost always had jobs that require a uniform,
so any chance to wear something fancy is a good thing.

I recently moved from Saskatoon Saskatchewan (Canada) to Sudbury Ontario,
and am in the process of finding suppliers to keep me in materials for my
addiction, er, hobby. When I moved I managed to whittle down the fabric pile
to a mere four large tupperware tubs, with another two in storage with the
in-laws. That was a tough job, lemme tell you! :-)

My hubby prefers early British/Roman styles, and I have never really focused
on one thing, although I'm generally interested in outfits that aren't too
common or well understood where we play;Turkish, German Ren, mid-late 15th
C, late Period Elizabethan, as examples. Very slowly but surely over the
years I have been making full outfits from the skin out in all of my areas
of interest, eventually I hope to have enough finished that I can post them
on a web-page. I find I get too easily distracted, having such a wide range
of interest, that I never really seem to finish anything, but I'm working on
it...  :-)

This list has been immensely helpful to me, library resources are very scant
where I have been living, and the wealth of knowlege of the folks on this
list very much helps me find the information I need. Thanks guys!

Sheridan

(working on a hand embroidered wool tunic and hand sewn trews for hubby, a
grey wool ten gore dress, a hip length padded Turkish jacket in strawberry
red velvet, and a new purple accent skirt with electric blue sequins for
dancing, for me.)

*-*-*-*-*-*-*-*-*-*-*
You are only young once,
but you can stay immature indefinitely.

Ogden Nash



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From h-costume-bounces@indra.com  Wed Feb  4 15:51:56 2004
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From: Ellen Dappert <Ellen.Dappert@ncmail.net>
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Subject: [h-cost] Re: Roll call and a long winded lurker
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Status: RO

Mia Dappert in Charlotte, coming out of lurk mode

owner of the blown up Bernina
Former worker at G Street Fabrics in Wash DC, and a shopper when it actually WAS on G Street, in that little old funky building, with the horrible elevator
Costume crazy since the mid 1970's, (now that was a time ago), and still learning.
I started just collecting patterns and fabric and pictures and tracings, and then moved on to doing, in a costume sense.  I'm now starting toward what I call " a real thing" philosophy.  I want some of the things I do to look like "real things".  An illustration--- one time someone said to me " I love your costume" when  I was in Rev war clothing.  and I
thought...”This is not a costume, these are my clothes.”
Periods of interest - every time.
I love to read the research that so many of you put into the time that I don't or haven't yet sewn for.  Much of my sewing goes towards the support of my husband’s powder burning reenactor roles, Rev war, ca.1800, Mex-American war, Civil war, Span-Amer war
WWII US Navy and Brit Infantry.
Actual sewing:
 Rev war. I am Dappert, ladies maid of all work in His majesties 64th of foot.  I sew  everything, but I love the stays and men’s shirts, just did stockings to fit around my large calves.  Not frame knitted, but not bad, and they don’t cut off circulation or rub me raw.  The 64th is  going to England next year for the 250th ann. of the regiment  a truely big deal
and hope to see a royal.
ca.1800,  we volunteer at a site outside of Charlotte, the home place for James Knox Polk in his childhood., We frequently are a ca. 1795-1805  local judge and his wife at the Christmas illumination and militia and court day
Mex-American war, We are some of the few people that do this in North Carolina.  James K. Polk was president during this one.  I love to do bonnets
Civil war,  been out a few years, much seems to be happening research-wise.  I’ll have to redo much of what I have.
Span-Amer war – just window dressing on this
WWII US Navy and Brit Infantry.    I hate looking like Eleanor Roosevelt.  We volunteer on the Battleship NC in Wilmington NC.

I want to do a calash and it’s grand-daughter, a mid 19th cent drawn bonnet.  Woolen stays, a ca.1800 riding habit for the judges wife to wear, real late 1840’s stuff instead of converted civil war close enoughs.

Thank you all for letting me learn from you.


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From h-costume-bounces@indra.com  Wed Feb  4 15:55:09 2004
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From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Fw: [h-cost] who is here-ROLL CALL
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Status: RO

And forgot to mention that I'm now in the Greater Pittsburgh, PA, area,
having moved a year and a half ago from NYC.

> I'm Helen Pinto, and mostly lurk, occasionally surfacing to post pictures,
> tools, and resources.  I was a scenery/costume design major at uni a long
> time ago (30+ years) and got to do everything from Roman to Baroque.  I
fell
> into the SCA around the same (known as Aidan ni Leir) and worked my way
> through Kohler back in the old days.  It's great how many more (and
better)
> resources there are out there now.  I left the academic theatre world for
> the warmer, more nurturing environment of the business community...
>
> Costuming is not my main focus, but I still do a bit, mostly early, and
will
> go off chasing any topic that catches my interest.  These days I'm a
> bookbinder and C&I; currently obsessed with writing implements (want to
know
> all about Renaissance pencils?...)  Then there's the early woodwinds,
> jewelry, hand-weaving (mostly narrow-wares), and too many other hobbies,
all
> of which now compete for my time with the joys of home ownership...   I am
> finally sorting through the fabric that was mostly in storage and trying
to
> get it under control.  Or at least into one room.  And stop getting more.
> And finish the interview wardrobe.
>
> Thanks to everyone who posts links to their work; it's lovely to look at
and
> much of it is masterful.  But looking at all that corsetry just makes me
> want to go and make another hangerrock.
>                                                        -Helen/Aidan
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Thu Feb  5 00:09:44 2004
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: [h-cost] 11th cent. stunning!Longish
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Status: RO

I'm looking into a whole new era for me, both for personna reasons and 
health.

My husband is an 11th cent. saxon and in order for me to time synch with him 
I need to learn what Norman women around William the Conqueror wore.  I mean 
if they wanted to knock out some handsome squire's eyeballs, how would she 
dress and adorn?

I also am allergic/reactive to wool so have to make everything without the 
holy fiber.  I looked at the links for linen and silks, but I think I'll 
have to add to my wardrobe sparingly.  Trying to do the "era" correctly 
instead of passably I'm looking for all kinds of info. that a Norman woman 
of 1066-ish would need to know.  I've chosen early in William's reign 
because I read that the tunic style clothing had a looser fit until later 
during the reign.

Thus comes in health.  I need to make things that can easily be gotten into 
and out of without too much work for my shoulders.  I have fibromyalgia and 
it is causing my tendons to tighten and my shoulders don't move back or up 
verywell.  I can put on my old "camp" tunic and as long as the fit is loose 
I can get in and out of them, but I really need to find out if there was a 
"right way" to make tunic style gowns and overdresses besides the two fold 
then cut method.  If that is how gowns and tunics were cut at that time then 
I'm already ahead of the game.

I also want to know what kind of trims were appropriate and how the nobles 
were distinguished from the rabble.  Sometimes it's good to be rabble.  *gr*

I know this has been discussed before but I always have trouble with 
archives.  Not that there's anything wrong with it, I'm computer illiterate 
and am happy I can handle my own emails.  :)  If anyone has done this 
research already please email me off list to save space.

Thanks in advance,

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

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

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Subject: Re: [h-cost] 11th cent. stunning!Longish
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Jennifer writes:
> I also am allergic/reactive to wool so have to make everything 
> without the 
> holy fiber.  I looked at the links for linen and silks, but I think 
> I'll 
> have to add to my wardrobe sparingly.  

Can't help you with the costume but maybe can with the fabrics. I too
have a wool allergy. Have you looked into brush denims? Lovely, warm,
have that "fuzzy" look some wools have, ultra easy care although you will
need to wash it first on hot for dye-fastness. And it's durable. 

Another option--try cotton twills. See above. :)

Cloaks--try using fake fur, and then line it with some nice fabric. Ditto
on hoods. Mine are sable, lined with a gorgeous midweight unlined blue
upholstery fabric.

Hope this helps.

Arlys


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From h-costume-bounces@indra.com  Thu Feb  5 03:04:38 2004
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I know this is off topic, but I wanted to help people who are running into this same problem.

Yahoogroups installed in all their email lists a software program called SpamGuard.  Last night, I had posted a message to our Gallery Newsletter and my Film Costume email list and the message disappeared for a while.  Then I got a message from yahoogroups telling me that I was a spamming my own email lists.  It took us over two hours to figure out how to turn off this junky software.  BEWARE, it is not good for you to download that software... they are offering for you to install it on your computer to use in Outlook.  I had not downloaded it. They installed it on my lists, and didn't think it was important to let me know.  

If you know an owner of a yahoogroups email list and wants to turn off their SpamGuard, please ask them to email me privately, penny@costumegallery.com  and I will be glad to send the directions of how to get rid of it.

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
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From h-costume-bounces@indra.com  Thu Feb  5 09:21:09 2004
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I tried to send this before, but I never saw it post to the list.  My 
apologies if it shows up twice.

I'm a lurker checking in....my name is Richard Harper and I live in Grand 
Rapids, Michigan, having just moved here from New York City last summer.  I 
have many costume interests (including theatrical), but am probably most 
skilled in Elizabethan men's tailored garments.  I am a member of the SCA 
and there am known as Master Henry Kersey of Devon.

I've been sewing since I was a kid; my very talented grandmother was my 
first teacher.  I took classes and built theatrical costumes in high school 
(the only boy, of course) and more recently studied at the Fashion Institute 
of Technology in New York as part of their incipient Haute Couture 
certificate program.

I am now in Michigan to be closer to my family (my mom and sister-in-law 
have some health issues, but are doing well) and would like to find folks 
nearby who are interested in Victorian and 18th century clothing, strong 
interests of mine.  Before I moved from the East Coast, I was part of a 
fledgling group starting to delve into Victorian culture, social gatherings 
and clothing (Hail Udria!) and I'm sad not to be close enough to play now.  
I'd be very interested in getting something like that going here.

But costuming?  As far as I'm concerned, it's all good.

Richard

"A positive attitude may not solve all of your problems, but it will annoy 
enough people to make it worth the effort" - Herm Albright

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From: "Carol E. Newby" <ladybug@neei.com>
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Subject: Re: [h-cost] 11th cent. stunning!Longish
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> Jennifer writes:
> > I also am allergic/reactive to wool so have to make everything without
> > the holy fiber.  I looked at the links for linen and silks, but I
> > think I'll have to add to my wardrobe sparingly.

You might also try cotton flannel. I have a friend who can't wear wool due
to a lanolin allergy and flannel is one of her staples for her Norman
costumes.

Elspeth

~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~
Carol E. Newby             Elspeth the Semstress of Dunkeld, OP
ladybug@neei.com                   http://www.neei.com/~ladybug

    "Act well your part, there all honor lies."
		~ William Shakespeare
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From h-costume-bounces@indra.com  Thu Feb  5 14:57:11 2004
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	Thu, 05 Feb 2004 11:46:23 PST
Date: Thu, 5 Feb 2004 11:46:23 -0800 (PST)
From: Tasha McGann <demontsegur@yahoo.com>
To: Classes List <classes@amoeba.cugc.org>,
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Subject: [h-cost] Philadelphia-area Robin Netherton lectures -- update
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Greetings!

I wanted to let folks know that there are still some
spaces left for the day of Medieval Dress lectures by
Robin Netherton, happening at Bryn Mawr College
(Southeastern PA) on Saturday, February 28th. 

The web flier has more details:
http://www.cottesimple.com/robin_netherton/lecture_info.htm

PLEASE NOTE: Advance registration is available until
February 21st or until it sells out, whichever comes
first. (Unfortunately, there will be no at-door/cash
admission.)

I look forward to seeing folks there!

Tasha McGann 

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] who is here-ROLL CALL
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I'm here!
I don't post much but I really enjoy this group. I make miniature dolls 
(1/12th scale) dressed as accurately as I can manage it. I've been taught 
by Hazel Dowd (wonderful dolls! Check out her website!). Some of the dolls 
go into my doll's houses, some of which you can see on my website.
Currently not too well, so no projects in hand, but at the end of the month 
I'm going to the British Miniaturists' Weekend at Ribby Hall, to do some 
workshops and meet nice people.
I also write books about Georgian and Regency England, so the costume 
information is doubly useful!


Lynne Connolly, GSOLFOT
Best selling Historical Romance.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
Coming soon; HARLEY STREET. VANESSA from <http://www.awe-struck.net/>Awe-Struck


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Subject: Re: [h-cost] 11th cent. stunning!Longish
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Well now, you've got yourself a challenge there!  There are two women on 
the Bayeux Tapestry, and they're both Saxon.  I have a database of 40 
images of women between 1050 and 1250, and only 2 of them are before 
1115.

Basically, the fancy fitted stuff seems to come in around mid-to-late 
1100's.  As far as I can tell, 1066 is a plain unfitted t-tunic style, 
with a keyhole neckline.  Nobles might be distinguished from rabble by 
unfeasibly wide sleeves - relatively tight to the elbow or below, then 
they just plunge. If you hold your hands at your waist, they can reach 
almost to the floor (in the pictures).  Not much evidence for 
decoration, maybe just a contrasting facing round the neck.  Later they 
have geometric patterns, generally alternating circles and lines, round 
the neck and the cuffs of more bell-shaped sleeves.  If you could do 
that as a jewelled border it would be very flashy.

I'm not sure whether it's real or just stylistic, but the pictures show 
an enveloping mantle, which looks to me like a rectangle reaching from 
head to foot on the short side - if you could cope with handling it, 
that also would be impressive.  This is in addition to a similarly 
draped headrail - that only reaches to your hips.

I don't know what the "two fold then cut" method" is, but, again AFAIK, 
for 1066 it's just a simple t-tunic shape, no fitted sleeves or curved 
seams or anything complicated.

Jean


Jennifer Sena <distantdesigns@hotmail.com> wrote
>I'm looking into a whole new era for me, both for personna reasons and 
>health.
>
>My husband is an 11th cent. saxon and in order for me to time synch 
>with him I need to learn what Norman women around William the Conqueror 
>wore.  I mean if they wanted to knock out some handsome squire's 
>eyeballs, how would she dress and adorn?
>
>I also am allergic/reactive to wool so have to make everything without 
>the holy fiber.  I looked at the links for linen and silks, but I think 
>I'll have to add to my wardrobe sparingly.  Trying to do the "era" 
>correctly instead of passably I'm looking for all kinds of info. that a 
>Norman woman of 1066-ish would need to know.  I've chosen early in 
>William's reign because I read that the tunic style clothing had a 
>looser fit until later during the reign.
>
>Thus comes in health.  I need to make things that can easily be gotten 
>into and out of without too much work for my shoulders.  I have 
>fibromyalgia and it is causing my tendons to tighten and my shoulders 
>don't move back or up verywell.  I can put on my old "camp" tunic and 
>as long as the fit is loose I can get in and out of them, but I really 
>need to find out if there was a "right way" to make tunic style gowns 
>and overdresses besides the two fold then cut method.  If that is how 
>gowns and tunics were cut at that time then I'm already ahead of the game.
>
>I also want to know what kind of trims were appropriate and how the 
>nobles were distinguished from the rabble.  Sometimes it's good to be 
>rabble.  *gr*
>
>I know this has been discussed before but I always have trouble with 
>archives.  Not that there's anything wrong with it, I'm computer 
>illiterate and am happy I can handle my own emails.  :)  If anyone has 
>done this research already please email me off list to save space.
>
>Thanks in advance,
>
>Jennifer Sena
>Distant Designs
>http://home.teleport.com/~cedric/distdesi
>
>I wont hurt you, I just want to dress you up!!
>
>_________________________________________________________________
>What are the 5 hot job markets for 2004? Click here to find out. 
>http://msn.careerbuilder.com/Custom/MSN/CareerAdvice/WPI_WhereWillWeFind
>JobsIn2004.htm?siteid=CBMSN3006&sc_extcmp=JS_wi08_dec03_hotmail1
>
>_______________________________________________
>h-costume mailing list
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>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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I'm Freyalyn and live in West Yorkshire, England.  I'm a frustrated costumer
and a list-lurker.

I make most of my own clothes, and usually wear stuff that's a little out of
ordinary and influenced by historical stuff.  I'd love to make proper
costumes, almost anything from the Eighteenth Century backwards, but as
there's no opportunity to wear any of it round here I can't really justify
the time and expense.  I am a member of the British Costume Guild but most
of their events are based in the south of England and I can't get to them.

So I spin, knit, weave narrow wares and sew, and vicariously enjoy what the
rest of you get up to.

Freyalyn, spinning green stuff.

NB - wool allergies are mostly allergies to the modern harsh chemical
techniques of processing wool these days, and also the careless mixing of
coarse and fine wool in commercial fabrics.

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Subject: Re: [h-cost] Wool
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<SNIP>Freyalyn, spinning green stuff.

NB - wool allergies are mostly allergies to the modern harsh chemical
techniques of processing wool these days, and also the careless mixing of
coarse and fine wool in commercial fabrics.
********************
Thank you for the tip.  My son and I both have this type of reaction and it
probably the chemicals.  Do you have any suggestions for getting rid of the
chemicals, other than spinning my own yard.  I found a nice brand of yarn
called Wool-Ease that doesn't itch me.  I know it must not be the wool,
because we were at an exhibit of sheep shearing and they let everyone feel
their wool.  It didn't bother us at all.

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


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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Wool
Date: Thu, 5 Feb 2004 18:39:37 -0500
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Try washing it.
-Megan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Penny Ladnier
Sent: Thursday, February 05, 2004 6:23 PM
To: Historical Costume
Subject: Re: [h-cost] Wool



<SNIP>Freyalyn, spinning green stuff.

NB - wool allergies are mostly allergies to the modern harsh chemical
techniques of processing wool these days, and also the careless mixing of
coarse and fine wool in commercial fabrics.
********************
Thank you for the tip.  My son and I both have this type of reaction and it
probably the chemicals.  Do you have any suggestions for getting rid of the
chemicals, other than spinning my own yard.  I found a nice brand of yarn
called Wool-Ease that doesn't itch me.  I know it must not be the wool,
because we were at an exhibit of sheep shearing and they let everyone feel
their wool.  It didn't bother us at all.

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


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Subject: [h-cost] RE: 11th cent. stunning (tunic links)
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Hi Jennifer: Try these sites for more on how to cut out T-tunics:
http://www.forest.gen.nz/Medieval/articles/Tunics/TUNICS.HTML
http://www.virtue.to/articles/tunic_worksheet.html
http://www.reconstructinghistory.com/beginners/FirstGarb.html

HTH,
Rebecca

Message: 7
Date: Wed, 04 Feb 2004 20:48:12 -0800
From: "Jennifer Sena" <distantdesigns@hotmail.com>
Subject: [h-cost] 11th cent. stunning!Longish

My husband is an 11th cent. saxon and in order for me to time synch with him
I need to learn what Norman women around William the Conqueror wore.  I mean
if they wanted to knock out some handsome squire's eyeballs, how would she
dress and adorn?

I can put on my old "camp" tunic and as long as the fit is loose 
I can get in and out of them, but I really need to find out if there was a
"right way" to make tunic style gowns and overdresses besides the two fold
then cut method.  If that is how gowns and tunics were cut at that time then
I'm already ahead of the game.

_______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Wool
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Another culprit may be (so I have heard) that some wool fibers are cut 
shorter than they would be naturally, producing a cut end at both ends 
of a single fiber.  This doubles the pokiest bits (ie, it's all a bit 
like beard stubble.)

I think there are probably some folks who are truly allergic to wool, 
but like percieved food allergies, there are things that can be tried to 
see if it's a true allergy.

Another thing to do is to add lanolin to the yardage, although I don't 
recall how you add it gradually so as not to get large greasy spots!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

It's rather ironic that ritualized violence (football) can be called 
family-oriented but not someone's boob seen for a moment.
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Subject: Re: [h-cost] Re: masquerade
Date: Thu, 5 Feb 2004 18:38:56 -0600
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Penny,

we're working on the 17th century(be afraid, be very afraid).  The CC is
Palm Sunday weekend, I think that's April 3rd thru the 5th (Friday to
Monday).

Snow fallen on snow,
      and this evening, the full moon of November
Basho


----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, February 03, 2004 11:27 PM
Subject: Re: [h-cost] Re: masquerade


> Karen,
>
> What are you working on?  I am working tonight to put online the Butterick
> pattern catalogs from 1897 & 1900.  I am getting ready to put online the
> descriptions of different types of masquerade balls.  I never realized
there
> were so many different types of masquerade parties. The first part of the
> party descriptions should be up in the Library tomorrow.  Bless Kimiko's
> heart, she emailed me immediately when these catalogs came up for auction
> last summer.  The fantasy costumes in the catalog are so fun!  There are
> several historic costume patterns in the catalog.  I would love to know
how
> historically accurate they are.
>
> We also have another article in the working process about a masquerade
ball
> that Queen Victoria gave in 1845.  The illustrations are beautiful!!!
This
> long article was in a London newspaper. The newspaper article is two LARGE
> pages long.  It has wonderful detailed descriptions of all the society
> people's costumes, listed by name.  The font type size is so small it is
> driving us crazy.  But the illustrations are large.
>
> The Mardi Gras season was where I got my first love for costuming.  I miss
> Mardi Gras so much every year.  The only time I wished I lived back on the
> Gulf Coast again... well, shrimping season is another reason.
>
> Penny E. 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
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>
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Subject: Re: [h-cost] Wool
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And yet some allergies are really from the wool, as is mine. Can't pet a sheep without getting itchy afterwards. :)

Connie


----- Original Message -----
From: Penny Ladnier <penny@costumegallery.com>
Date: Thursday, February 5, 2004 3:23 pm
Subject: Re: [h-cost] Wool

> 
> <SNIP>Freyalyn, spinning green stuff.
> 
> NB - wool allergies are mostly allergies to the modern harsh chemical
> techniques of processing wool these days, and also the careless 
> mixing of
> coarse and fine wool in commercial fabrics.
> ********************
> Thank you for the tip.  My son and I both have this type of 
> reaction and it
> probably the chemicals.  Do you have any suggestions for getting 
> rid of the
> chemicals, other than spinning my own yard.  I found a nice brand 
> of yarn
> called Wool-Ease that doesn't itch me.  I know it must not be the 
> wool,because we were at an exhibit of sheep shearing and they let 
> everyone feel
> their wool.  It didn't bother us at all.
> 
> Penny E. Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
> 
> 
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> I think there are probably some folks who are truly allergic to 
> wool, but like percieved food allergies, there are things that can be 
> tried to see if it's a true allergy.

As one of them, trust me, there are.  That stuff so much as touches my
skin and within about 5 seconds it starts to feel like an acid burn.
Fortunately a few minutes of holding the affected area under running
water takes care of the vast majority of the problem.

> Another thing to do is to add lanolin to the yardage, although I 
> don't recall how you add it gradually so as not to get large greasy
spots!

I've tried handling wool in the grease. Doesn't work. Same result.
 
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent

There are true fiber allergies just as there are true food allergies. I
never had a speck of trouble with wool until I came down a number of
years ago with some particularly vile form of Asian flu, and haven't been
able to handle it since. Possibly some sort of auto-immune response--who
knows?

Arlys

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 11th cent. stunning!Longish
Date: Thu, 5 Feb 2004 21:46:44 -0500
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On Thursday 05 February 2004 05:46 pm, Jean Waddie wrote:
[snip]

> I don't know what the "two fold then cut" method" is, but, again AFAIK,
> for 1066 it's just a simple t-tunic shape, no fitted sleeves or curved
> seams or anything complicated.

If Jennifer meant this by "two fold then cut" method -(i.e., you lay a shirt 
that fits you on folded fabric and use it as a cutting pattern, extending 
sleeve length and body length as necessary), as described, for example, at 
this site:

http://aneala.sca.org.au/Resources/newcomers/Garb/garb.html

that is not a period method; wastes too much fabric.

For a similar result in a more period manner, try this method:

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

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: [h-cost] Costume Books Available of Possible Interest (long)
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I have been browsing the Ayer Company Publisher website ayerpub.com because
that's where I found my Progresses and Public Processions of Queen
Elizabeth.  I've found a couple of other things that I wanted that are not
costume as well.

Since they deal mostly in re-prints of older scholarship, I wasn't hopeful
of finding anything much.  However, here is what costume things I did find.

Note that a couple are Colonial America, and one Regency I did find:

Earle, Alice Morse
TWO CENTURIES OF COSTUME IN AMERICA
Volume 1 treats of colonial costume; volume 2, mid 18th century through
1820.
Two vols. 850 pp. text plus scores of plates (1903)
volume one
LC 68-56468
ISBN: 0405084781 $27.95

Hiler, Hilaire, & Meyer Hiler
BIBLIOGRAPHY OF COSTUME
Includes roughly 8400 books in all languages on costume, armor, and
accessories. 951 pp. (1939)
LC 66-12285
ISBN: 0405086148 $38.95
    NOTE FROM Regina - this might be something worth ILLing


Boehn, Max Von
MODES AND MANNERS: From the Middle Ages to the End of the Eighteenth Century
Fashions and costume against a background of social customs, political
change, and manners among upper-class Europeans.
Volume I
LC 68-56493
ISBN: 0405190174 $29.95
   Note:  This is Volume I of the II volume set.  They also have volume II
listed but...


Brummell, Beau [George Bryan Brummell]
MALE AND FEMALE COSTUME
Edited by Eleanor Parker
The evolution of dress from the Greeks to the end of the 18th century. 334
pp. Profusely illustrated (1932)
LC 71-177521
ISBN: 0405083149
$29.95

Gummere, Amelia Mott
THE QUAKER: A STUDY IN COSTUME
The moral and social climate of Quakerism as revealed in the Quakers'
distinctive dress. 232 pp. Profusely illustrated (1901)
LC 68-56494
ISBN: 0405085850 $25.95

Kelly, Francis M., & Randolph Schwabe
HISTORIC COSTUME: A Chronicle of Fashion in Western Europe 1490-1790
A highly praised volume based entirely on contemporary evidence and
illustrations. 322 pp. text plus 77 plates and 90 drawings in the text
(1929)
LC 67-13332
ISBN: 0405181760 $18.95  Another copy for $35.95 - I don't know what the
difference is.
   NOTE:  I have it on my shelves - I've seen worse overviews.  It helps to
know what you should be looking at, but ...

McCIellan, Elisabeth
Historic Dress In America

This work, in two volumes, chronicles the dress of the American colonists.
"Before the Revolution many a shipload of immogramts, wearing the costume of
the country of their birth, landed in our ports lending a variety and
contrast to the appearance of the people. McClellan believed that she could
learn about these people and their lives by studying the various forms of
dress. The set contains over 700 illustrations. Volume one covers the years
1607-1800 while volume two covers the period between 1800 and 1870. Volume
one: hard cover, 402 pp. Volume two: hard cover, 458 pp. Each volume
contains a glossary, index and 385 black and white illustrations. First
published 1904. 1969 edition.

Volume 1 - 0843461640
Volume 2 - 0843461659
LC 70-81515
ISBN: 0881430773
$82.95




Regina Romsey
"The work of our Laurels will astonish people a century from now; the
deeds of our knights will be forgotten in five years; and nobody knows
what the Pelicans have done." Sir Alan Culross



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Subject: [h-cost] New book on men's dress - anyone seen?
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http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/15805.ctl

Zakim, Michael Ready-Made Democracy: A History of Men's Dress in the 
American Republic, 1760-1860. x, 296 p., 36 halftones, 1 map. 2003

Cloth $30.00sp 0-226-97793-5 Fall 2003

Ready-Made Democracy explores the history of men's dress in America to 
consider how capitalism and democracy emerged at the center of American 
life during the century between the Revolution and the Civil War. Michael 
Zakim demonstrates how clothing initially attained a significant place in 
the American political imagination on the eve of Independence. In a time 
when homespun attire was a popular expression of civic virtue, homemade 
clothing was widely regarded as a reflection of America's most cherished 
republican values: simplicity, industriousness, frugality, and independence.

But as early as the nineteenth century, homespun clothing began to 
disappear from the American cultural landscape. Exhortations of industry 
and modesty, however, remained a common fixture of the public imagination, 
and began to express themselves during this time in the form of the 
business suit. Here, Zakim traces the evolution of homespun clothing into 
its ostensible opposite--the woolen coats, vests, and pantaloons that were 
"ready-made" for sale and wear in cities across the country. In doing so, 
he brilliantly demonstrates how traditional notions of work and property 
actually helped give birth to an industrial revolution. For Zakim, the 
evolution of men's dress in America mirrored profound changes in the 
nation's social and material landscape: profit-seeking in newly expanded 
markets, organizing waged labor in the city, shopping for clothes at 
cut-rate prices, and standardizing a business persona.

In illuminating the critical links among politics, economics, and fashion 
in antebellum America, Ready-Made Democracy will prove essential to anyone 
interested in the history of the United States and in the rise of modern 
culture in general.

Table of Contents
Acknowledgments
Introduction: Sartorial Politics
1. A Homespun Ideology
2. A Clothing Business
3. The Reinvention of Tailoring
4. Dressing for Work
5. Ready-Made Labor
6. The Seamstress
7. A Fashion Regime
Conclusion
Notes
Index

Subjects:

     * History: American History
     * Culture Studies
     * Political Science: American Government and Politics
     * Economics and Business: Business--Industry and Labor

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Wanda Pease wrote:

> Earle, Alice Morse
> TWO CENTURIES OF COSTUME IN AMERICA
> Volume 1 treats of colonial costume; volume 2, mid 18th century through
> 1820.
> Two vols. 850 pp. text plus scores of plates (1903)
> volume one
> LC 68-56468
> ISBN: 0405084781 $27.95

I have this one, it comes up on Ebay from time to time, I know I didn't 
pay anywhere near $27 for it, but mine is from a different publisher. 
Two volumes, sleeved, each about the size of a paperback novel. Lots of 
B+W pics, photos, engravings, paintings, unfortunately a lot are dark 
and not always clearly reproduced. Still, there is a pic on nearly every 
page and they are captioned so you know what it is even if very few 
dates are given.

I have not used the book very much, not doing anything with the periods 
it covers, but I did look through it when I first got them and I noticed 
the author makes a lot of comments about the character and personality 
of people in the paintings she discusses, and goes off in strange 
directions that have nothing to do with costuming. On the other hand, 
sometimes she comments on the paintings in such detail, rings and fans 
and hatbands and the way knots are tied. It almost reads like a social 
history in places.



Dawn


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Subject: [h-cost] Oriental surcoat
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Hi,

I was doing some reading and ran across a 11th/12th cent garment called a
Oriental (or persian) surcoat. Since this was in Norris, I was wondering if
there was any other information about it.

Was it really known to be a transparent silk coat worn over brightly colored
bliauts?

Susan in Bellevue
Rollcall:
known in the SCA as Susan Paraventur
lives in the seattle area and am active in SCA, Beyond Reality, Cons, and
sometimes Somewhere in Time.  I make a wide variety of costumes, from fairly
accurate historical to fantasy outfits.  Historical ranges from Greek (I did
start an egyptian, but didn't finish it) to the 30s (of last century)
Historical ranges from I make it up cause I think it'll look cool to media
reproductions (usually movie/tv, but I have done books).  I love glittery
costumes and can often be seen at cons in really really glittery dresses,
the last one was Orange.  Teddy would have been happy.  I've been on this
list pretty steadily for the past ten years.


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Hi, Freyalyn!
I think I've been on the train through your area (geez, England's 
beautiful!) when heading from York down to Shrewsbury and Bath.  *sigh* 
I really wish I could visit again!
What kind of narrow wares are you making? I've been interested in 
learning more about them since I found out about the Soper Lane group....
--sue, many miles from anywhere interesting (at least in February! <g>)

Lynn Close-Hainsworth wrote:

> I'm Freyalyn and live in West Yorkshire, England.  I'm a frustrated costumer
> and a list-lurker.
> 
> I make most of my own clothes, and usually wear stuff that's a little out of
> ordinary and influenced by historical stuff.  I'd love to make proper
> costumes, almost anything from the Eighteenth Century backwards, but as
> there's no opportunity to wear any of it round here I can't really justify
> the time and expense.  I am a member of the British Costume Guild but most
> of their events are based in the south of England and I can't get to them.
> 
> So I spin, knit, weave narrow wares and sew, and vicariously enjoy what the
> rest of you get up to.


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Wool
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Or from the lanolin.  I had a friend, years ago, who reacted to lanolin 
in any form, even when it showed up in cosmetics, etc.  Me, on the other 
hand, I always thought I had a wool allergy, but it turns out I'm just 
sensitive to the scratchy cr@p, whether it's wool or acrylic! I've been 
spinning merino for a while, and don't have any problems with it....
--sue

jacyntha@shaw.ca wrote:

> And yet some allergies are really from the wool, as is mine. Can't pet a sheep without getting itchy afterwards. :)
> 
> Connie
> 
> 
> ----- Original Message -----
> From: Penny Ladnier <penny@costumegallery.com>
> Date: Thursday, February 5, 2004 3:23 pm
> Subject: Re: [h-cost] Wool
> 
> 
>><SNIP>Freyalyn, spinning green stuff.
>>
>>NB - wool allergies are mostly allergies to the modern harsh chemical
>>techniques of processing wool these days, and also the careless 
>>mixing of
>>coarse and fine wool in commercial fabrics.
>>********************
>>Thank you for the tip.  My son and I both have this type of 
>>reaction and it
>>probably the chemicals.  Do you have any suggestions for getting 
>>rid of the
>>chemicals, other than spinning my own yard.  I found a nice brand 
>>of yarn
>>called Wool-Ease that doesn't itch me.  I know it must not be the 
>>wool,because we were at an exhibit of sheep shearing and they let 
>>everyone feel
>>their wool.  It didn't bother us at all.


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Can anyone suggest brands of wool yarn to purchase that is not real
expensive?  Any websites to purchase?

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


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Subject: [h-cost] left-handed stitching of buttonholes
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Ann Wass wrote>
I always say I am going to handstitch over the buttonholes 
on my husband's Regency-era coats, but haven't gotten around to it yet.  I 
have difficulty making buttonholes by hand as the thread always twists and 
tangles. I finally figured out that it must be because I am left-handed, and 
the twist in the thread is the wrong way for me.  And of course it is fatal 
if the thread knots up in the middle of a buttonhole--not much choice but to 
rip out and start over, so that may be part of my reluctance.

Ann
Don't despair because you are left-handed. I am also left-handed, and the 
thread twists for me as well. A few things that may help are:
1. Don't use too long a thread - you can finish off the short thread by 
running it along the edge of the buttonhole and then start a new one the same 
way. The time you "waste" finishing off and starting new threads is repaid by 
not having to untangle your thread so often.
2. Be conscious that the thread twists for you and let the tension out by 
letting the needle go every so often and running your fingers up the thread 
towards the needle. I finally noticed (after 20 years of handsewing :-) that 
the reason the thread twisted was because I was rotating the needle slightly 
every time I pushed it through the material, let it go, and grasped it again 
on the other side. Noticing this didn't stop me doing it, just helped me 
understand what was happening so I stopped cursing so much and looked for a 
solution.
3. Know that some threads have a definite direction. When you cut a length of 
thread off a spool do you thread the needle with the end that was newly cut, 
or the "older" cut? Try to be consistent in this, and if a particular thread 
is constantly causing problems, try threading it through the needle the other 
way. (This is particularly true of metallic threads and silk, but often also 
with thicker threads like buttonhole twist.)

cheers

Annette
-- 
Annette Wilson
Australian Botanical Liaison Officer
Royal Botanic Gardens Kew
Richmond Surrey TW9 3AB UK
Voice 44 (0)20 8332 5270
Fax 44 (0)20 8332 5278
Email ablo@rbgkew.org.uk





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Subject: Re: [h-cost] left-handed stitching of buttonholes
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Annette wrote :

>>[snip]
3. Know that some threads have a definite direction. When you cut a
length of thread off a spool do you thread the needle with the end that
was newly cut, or the "older" cut? Try to be consistent in this, and if
a particular thread is constantly causing problems, try threading it
through the needle the other way. (This is particularly true of metallic
threads and silk, but often also with thicker threads like buttonhole
twist.)

This is interesting. I'm right-handed, but my aunt once told me that
you should always thread the needle with the existing cut end, not the
newly cut one, to avoid the thread knotting as you sew. I've found that
this doesn't always work, so obviously I should try the other end when
it doesn't.


Kate Bunting
Library, University of Derby
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Subject: Re: [h-cost] Costume Books Available of Possible Interest (long)
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In a message dated 2/6/2004 12:37:15 AM Eastern Standard Time, 
dawn@reddawn.net writes:
I have not used the book very much, not doing anything with the periods 
it covers, but I did look through it when I first got them and I noticed 
the author makes a lot of comments about the character and personality 
of people in the paintings she discusses, and goes off in strange 
directions that have nothing to do with costuming. On the other hand, 
sometimes she comments on the paintings in such detail, rings and fans 
and hatbands and the way knots are tied. It almost reads like a social 
history in places.
And some of what she said is just totally off the mark--well, it was 1903 
after all--but people still sometimes quote her as gospel.  Acquire it as a 
classic, but don't rely on the information.

Ann Wass
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Subject: Re: [h-cost] left-handed stitching of buttonholes
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Thank you so much for the suggestions.  I have thought about paying attention 
to which end I thread through the needle, but then usually forget to!  And I 
will try the relaxing the thread idea.

I never have this problem with any handsewing but buttonholes, and I think 
you are correct--I definitely twist the needle when I'm making the loops.

Ann Wass
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Date: Fri, 6 Feb 2004 09:17:29 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] left-handed stitching of buttonholes
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On Fri, 6 Feb 2004, Kate M Bunting wrote:

> Annette wrote :
> 
> 3. Know that some threads have a definite direction. When you cut a
> length of thread off a spool do you thread the needle with the end that
> was newly cut, or the "older" cut? Try to be consistent in this, and if
> a particular thread is constantly causing problems, try threading it
> through the needle the other way. (This is particularly true of metallic
> threads and silk, but often also with thicker threads like buttonhole
> twist.)
> 
> This is interesting. I'm right-handed, but my aunt once told me that
> you should always thread the needle with the existing cut end, not the
> newly cut one, to avoid the thread knotting as you sew. I've found that
> this doesn't always work, so obviously I should try the other end when
> it doesn't.

OK, now I'm confused. The twist will be the same regardless of which end
goes through the needle, right? So it shouldn't matter which end of the
thread goes through the needle first.

If that doesn't make sense, draw a picture of thread with a twist:
_  _  _  _  _  _  _  _  _  _
 \_ \_ \_ \_ \_ \_ \_ \_ \_ \_

Look at it right side up and upside down. The twist is still the same.

--Robin

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Robin Netherton wrote:
> OK, now I'm confused. The twist will be the same regardless of which end
> goes through the needle, right? So it shouldn't matter which end of the
> thread goes through the needle first.

I think it has something to do with the processing machinery and how it 
smooths the thread -- as if the thread has a nap to it.  If you go with 
the nap, it slides through more smoothly than against the nap.  And the 
micro-nap might help the thread's twist stay in place somehow, but if 
you're against the nap, it might not.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

It's rather ironic that ritualized violence (football) can be called 
family-oriented but not someone's boob seen for a moment.
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Wool
References: <261c6df2620391.2620391261c6df@shaw.ca>	<40232D07.5050707@in-tch.com>
	<000f01c3ec7d$c258ea20$0500a8c0@MOM>
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The stuff I've seen online can get pretty pricey.  Absolutely glorious, 
but....
If you're looking for less expensive wools and wool blends, I'd try your 
local Michael's or Ben Franklin's.  I found inexpensive wool blends at 
both of them, which were just perfect for my "I wanna learn how to make 
scarves but I don't want to do it with the expensive stuff" project. 
(I'm making a couple of inexpensive "Harry Potter" scarves, and when 
I've got this knitting in the round thing down, I've got a couple of 
cowl/hoods to make with the $16-a-skein stuff....;o)
--sue

Penny Ladnier wrote:
> Can anyone suggest brands of wool yarn to purchase that is not real
> expensive?  Any websites to purchase?

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From: "Megan M." <megan@benchite.com>
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Subject: RE: [h-cost] Wool- for Penny
Date: Fri, 6 Feb 2004 10:21:57 -0500
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Brown Sheep Company's Lamb's Pride is the stuff that made me realize that
wool was not the problem, but something to do with the processing thereof.
I make socks out of this stuff with no problem, and can even buy the
expensive hiking socks from the outdoors stores without trouble now. Here is
a link:
http://www.yarn.com/yarns/yarn_main.html
enter Brown Sheep in the Manufacturer box, and it will list what they have
by them.  Apparently now they make some cotton stuff too.  This company,
Webs, is my favorite supplier these days, for needlework and weaving.
-Megan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Penny Ladnier
Sent: Friday, February 06, 2004 1:52 AM
To: Historical Costume
Subject: Re: [h-cost] Wool


Can anyone suggest brands of wool yarn to purchase that is not real
expensive?  Any websites to purchase?

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


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From h-costume-bounces@indra.com  Fri Feb  6 11:04:18 2004
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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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	<000c01c3ec35$86ff3580$addefea9@lance3>
Subject: Re: [h-cost] Re: Roll Call
Date: Fri, 6 Feb 2004 15:45:32 -0000
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where abouts in W yorks are you. I moved back to god's own country, after
too long in london, a couple of years ago and am now based in Leeds

dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716
----- Original Message ----- 



> I'm Freyalyn and live in West Yorkshire, England.  I'm a frustrated
costumer
> and a list-lurker.
>


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Hi Freyalyn
There is a chapter of the SCA in York, the Shire of Pont Alarc, they are really nice people. Their website is http://www.pontalarch.pwp.blueyonder.co.uk/ Contact the chatelaine and they will welcome you with open arms. 
I used to play with them when i did a term at Loughborough university
Tania
(Tatiana Alexandrova)

Lynn Close-Hainsworth <lynn@close-hainsworth.fslife.co.uk> wrote:
I'm Freyalyn and live in West Yorkshire, England. I'm a frustrated costumer
and a list-lurker.

I make most of my own clothes, and usually wear stuff that's a little out of
ordinary and influenced by historical stuff. I'd love to make proper
costumes, almost anything from the Eighteenth Century backwards, but as
there's no opportunity to wear any of it round here I can't really justify
the time and expense. I am a member of the British Costume Guild but most
of their events are based in the south of England and I can't get to them.

So I spin, knit, weave narrow wares and sew, and vicariously enjoy what the
rest of you get up to.

Freyalyn, spinning green stuff.

NB - wool allergies are mostly allergies to the modern harsh chemical
techniques of processing wool these days, and also the careless mixing of
coarse and fine wool in commercial fabrics.

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Subject: [h-cost] thread direction
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Robin Netherton wrote:
> OK, now I'm confused. The twist will be the same regardless of which en=
d
> goes through the needle, right? So it shouldn't matter which end of the
> thread goes through the needle first.

Then Cythia wrote:
>I think it has something to do with the processing machinery and how it 
smooths the thread -- as if the thread has a nap to it.  If you go with 
the nap, it slides through more smoothly than against the nap.  And the 
micro-nap might help the thread's twist stay in place somehow, but if 
you're against the nap, it might not.


I think Cynthia is right regarding machine processed thread - that somehow 
the processing produces a 'nap': however, with wool, if the fleece was 
combed, not carded, then the microscopic scales on the fibres all lie the 
same way, and the cut ends face the same way. The effect is also extreme on 
metal threads like jap gold (and imitations like Maderia and DMC) where a 
thin spiral of gold on paper is wound round a fibre (silk or cotton) core. I 
find with the DMC thread, if I get it the wrong way round the gold foil will 
shred off within 2 inches, the correct orientation allows me to use an 18 
inch long thread (which for me is a very long piece). Incidentally, the 
metallic machine embroidery thread suffers a similar shredding problem which 
is caused by the eye of the machine needle heating up as the metal runs 
through it.

Annette

-- 
Annette Wilson
Australian Botanical Liaison Officer
Royal Botanic Gardens Kew
Richmond Surrey TW9 3AB UK
Voice 44 (0)20 8332 5270
Fax 44 (0)20 8332 5278
Email ablo@rbgkew.org.uk




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Subject: [h-cost] Costuming mythology (was:New book on men's dress - anyone
	seen? )
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David Webb <alderweb@vaxxine.com>  quoted from the following review:
>...the American political imagination on the eve of Independence. In a time
>when homespun attire was a popular expression of civic virtue, homemade
>clothing was widely regarded as a reflection of America's most cherished
>republican values: simplicity, industriousness, frugality, and 
>independence.

Whether this was actually true or not, I'm seeing a connection here between 
this perception of the colonial era, and the (seemingly) commonly held 
misperceptions of earlier clothing - for example "Medieval clothing should 
be homespun and look really rustic."

Marc

_________________________________________________________________
Get some great ideas here for your sweetheart on Valentine's Day - and 
beyond. http://special.msn.com/network/celebrateromance.armx

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At 9:05 AM -0700 2/6/04, h-costume-request@indra.com wrote:
>Can anyone suggest brands of wool yarn to purchase that is not real
>expensive?  Any websites to purchase?


Try Webs, think they are webs.com, they have mill ends and some of 
their own brands. Or check down in the Carolinas, there used to be 
some mill end folks down there...
Ta
Carol
-- 
Jan 7 1792: Farenheit's thermometer 23 degrees below.I rub silk gowns
with flannel to see the beautiful streams of fire which are emitted
with a crackling noise during the cold weather.
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Date: Thu, 05 Feb 2004 21:34:18 +0100
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From: Esther Stouten <Gelfling@dds.nl>
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Hello All,

I am one of the many lurkers. My name is Esther Stouten and my medieval 
name is Morwenna of Morwenstow. Occupation: full time mommy of a 2 year old 
boy.

My obession is making a decent piece of costume for every medieval period, 
curently I am working on a 10/11th century anglo-saxon dress and a tudor 
dress. I am making the tudor dress with Josiene van Maarseveen aka Deredere 
Galbraith, my friend and fellow costume nut, who has more experience in 
such advanced dresses, usually I do not dare to make anything beyond the 
14th century, which is my main obession.

I have a websites with my medieval outfits 
http://www.gelfling.dds.nl/wardrobe.html but I have to be honest and say 
that I am not satified with most of the dresses.
My husband makes his own medieval clothes too, the most of his costumes are 
sewn by hand, by him!  You can see his work here 
http://home.hccnet.nl/r.vhallem/Dugald'sWorkshop/costume.html We are 
currently in the dutch branch of the SCA, but we are looking for a 
reanactorsgroup to join or thinking of setting up one of our own (14th 
century -16th century), because we start to strive for more 
authenticity,and there is not much out here for us lovers of later (upper 
class) period costume.

It was so nice to read all the emails in reply to Roll Call that I decided 
to surface and reply myself.

Best Wishes,

Esther Stouten


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From h-costume-bounces@indra.com  Fri Feb  6 12:55:38 2004
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Subject: [h-cost] Re: 11th cent. stunning!Longish
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Hello Jennifer,

You might want to look in The book of costume by Milla Davenport. She has 
interesting pictures, in the Dark Ages section,  but most of it is 
Anglo-Saxon though. I am currently researching the same style/period 
costume for myself. If you can't get a hold of a copy of that book, I will 
be glad to email  pictures tou you.


Good Luck,

Esther aka Morwenna

>From: "Jennifer Sena" <distantdesigns@hotmail.com>
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>Date: Wed, 04 Feb 2004 20:48:12 -0800
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>Content-Type: text/plain; format=flowed
>Subject: [h-cost] 11th cent. stunning!Longish
>Message: 7
>
>I'm looking into a whole new era for me, both for personna reasons and health.
>
>My husband is an 11th cent. saxon and in order for me to time synch with 
>him I need to learn what Norman women around William the Conqueror 
>wore.  I mean if they wanted to knock out some handsome squire's eyeballs, 
>how would she dress and adorn?
>
>I also am allergic/reactive to wool so have to make everything without the 
>holy fiber.  I looked at the links for linen and silks, but I think I'll 
>have to add to my wardrobe sparingly.  Trying to do the "era" correctly 
>instead of passably I'm looking for all kinds of info. that a Norman woman 
>of 1066-ish would need to know.  I've chosen early in William's reign 
>because I read that the tunic style clothing had a looser fit until later 
>during the reign.
>
>Thus comes in health.  I need to make things that can easily be gotten 
>into and out of without too much work for my shoulders.  I have 
>fibromyalgia and it is causing my tendons to tighten and my shoulders 
>don't move back or up verywell.  I can put on my old "camp" tunic and as 
>long as the fit is loose I can get in and out of them, but I really need 
>to find out if there was a "right way" to make tunic style gowns and 
>overdresses besides the two fold then cut method.  If that is how gowns 
>and tunics were cut at that time then I'm already ahead of the game.
>
>I also want to know what kind of trims were appropriate and how the nobles 
>were distinguished from the rabble.  Sometimes it's good to be rabble.  *gr*
>
>I know this has been discussed before but I always have trouble with 
>archives.  Not that there's anything wrong with it, I'm computer 
>illiterate and am happy I can handle my own emails.  :)  If anyone has 
>done this research already please email me off list to save space.
>
>Thanks in advance,
>
>Jennifer Sena
>Distant Designs
>http://home.teleport.com/~cedric/distdesi
>
>I wont hurt you, I just want to dress you up!!
>
>_________________________________________________________________
>What are the 5 hot job markets for 2004? Click here to find out. 
>http://msn.careerbuilder.com/Custom/MSN/CareerAdvice/WPI_WhereWillWeFindJobsIn2004.htm?siteid=CBMSN3006&sc_extcmp=JS_wi08_dec03_hotmail1
>
>
>
>
>Content-Transfer-Encoding: 7bit
>From: Cynthia J Ley <cley@juno.com>
>Precedence: list
>MIME-Version: 1.0
>Cc: h-costume@indra.com
>To: h-costume@indra.com
>Date: Wed, 4 Feb 2004 22:20:12 -0800
>Reply-To: Historical Costume <h-costume@mail.indra.com>
>Message-ID: <20040204.222252.828.0.Cley@juno.com>
>Content-Type: text/plain
>Subject: Re: [h-cost] 11th cent. stunning!Longish
>Message: 8
>
>Jennifer writes:
> > I also am allergic/reactive to wool so have to make everything
> > without the
> > holy fiber.  I looked at the links for linen and silks, but I think
> > I'll
> > have to add to my wardrobe sparingly.
>
>Can't help you with the costume but maybe can with the fabrics. I too
>have a wool allergy. Have you looked into brush denims? Lovely, warm,
>have that "fuzzy" look some wools have, ultra easy care although you will
>need to wash it first on hot for dye-fastness. And it's durable.
>
>Another option--try cotton twills. See above. :)
>
>Cloaks--try using fake fur, and then line it with some nice fabric. Ditto
>on hoods. Mine are sable, lined with a gorgeous midweight unlined blue
>upholstery fabric.
>
>Hope this helps.
>
>Arlys
>
>
>________________________________________________________________
>The best thing to hit the Internet in years - Juno SpeedBand!
>Surf the Web up to FIVE TIMES FASTER!
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>
>From: "Penny Ladnier" <penny@costumegallery.com>
>Precedence: list
>MIME-Version: 1.0
>Cc:
>To: "h-costume" <h-costume@indra.com>
>Date: Thu, 5 Feb 2004 03:02:09 -0500
>Reply-To: Historical Costume <h-costume@mail.indra.com>
>Message-ID: <01bf01c3ebbe$5b3b4370$0500a8c0@MOM>
>Content-Type: text/plain;
>         charset="iso-8859-1"
>Subject: [h-cost] Off-topic: Spam
>Message: 9
>
>I know this is off topic, but I wanted to help people who are running into 
>this same problem.
>
>Yahoogroups installed in all their email lists a software program called 
>SpamGuard.  Last night, I had posted a message to our Gallery Newsletter 
>and my Film Costume email list and the message disappeared for a 
>while.  Then I got a message from yahoogroups telling me that I was a 
>spamming my own email lists.  It took us over two hours to figure out how 
>to turn off this junky software.  BEWARE, it is not good for you to 
>download that software... they are offering for you to install it on your 
>computer to use in Outlook.  I had not downloaded it. They installed it on 
>my lists, and didn't think it was important to let me know.
>
>If you know an owner of a yahoogroups email list and wants to turn off 
>their SpamGuard, please ask them to email me privately, 
>penny@costumegallery.com  and I will be glad to send the directions of how 
>to get rid of it.
>
>Penny E. Ladnier
>Owner, The Costume Gallery & Costume Classroom
>www.costumegallery.com
>www.costumeclassroom.com
>From: "R Harper" <rharperny@hotmail.com>
>Precedence: list
>MIME-Version: 1.0
>Cc:
>To: h-costume@indra.com
>Date: Thu, 05 Feb 2004 09:01:21 -0500
>Reply-To: Historical Costume <h-costume@mail.indra.com>
>Message-ID: <Law9-F73LDwdbWKEVqr0003e037@hotmail.com>
>Content-Type: text/plain; format=flowed
>Subject: [h-cost] Roll Call
>Message: 10
>
>I tried to send this before, but I never saw it post to the list.  My 
>apologies if it shows up twice.
>
>I'm a lurker checking in....my name is Richard Harper and I live in Grand 
>Rapids, Michigan, having just moved here from New York City last 
>summer.  I have many costume interests (including theatrical), but am 
>probably most skilled in Elizabethan men's tailored garments.  I am a 
>member of the SCA and there am known as Master Henry Kersey of Devon.
>
>I've been sewing since I was a kid; my very talented grandmother was my 
>first teacher.  I took classes and built theatrical costumes in high 
>school (the only boy, of course) and more recently studied at the Fashion 
>Institute of Technology in New York as part of their incipient Haute 
>Couture certificate program.
>
>I am now in Michigan to be closer to my family (my mom and sister-in-law 
>have some health issues, but are doing well) and would like to find folks 
>nearby who are interested in Victorian and 18th century clothing, strong 
>interests of mine.  Before I moved from the East Coast, I was part of a 
>fledgling group starting to delve into Victorian culture, social 
>gatherings and clothing (Hail Udria!) and I'm sad not to be close enough 
>to play now.
>I'd be very interested in getting something like that going here.
>
>But costuming?  As far as I'm concerned, it's all good.
>
>Richard
>
>"A positive attitude may not solve all of your problems, but it will annoy 
>enough people to make it worth the effort" - Herm Albright
>
>_________________________________________________________________
>Let the new MSN Premium Internet Software make the most of your high-speed 
>experience. http://join.msn.com/?pgmarket=en-us&page=byoa/prem&ST=1
>
>
>
>
>From: "Carol E. Newby" <ladybug@neei.com>
>Precedence: list
>MIME-Version: 1.0
>Cc:
>To: Historical Costume <h-costume@indra.com>
>References: <20040204.222252.828.0.Cley@juno.com>
>In-Reply-To: <20040204.222252.828.0.Cley@juno.com>
>Date: Thu, 5 Feb 2004 10:06:04 -0500 (EST)
>Reply-To: Historical Costume <h-costume@mail.indra.com>
>Message-ID: <Pine.LNX.4.58.0402051003460.9047@falkor.neei.com>
>Content-Type: TEXT/PLAIN; charset=US-ASCII
>Subject: Re: [h-cost] 11th cent. stunning!Longish
>Message: 11
>
> > Jennifer writes:
> > > I also am allergic/reactive to wool so have to make everything without
> > > the holy fiber.  I looked at the links for linen and silks, but I
> > > think I'll have to add to my wardrobe sparingly.
>
>You might also try cotton flannel. I have a friend who can't wear wool due
>to a lanolin allergy and flannel is one of her staples for her Norman
>costumes.
>
>Elspeth
>
>~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~~~*~
>Carol E. Newby             Elspeth the Semstress of Dunkeld, OP
>ladybug@neei.com                   http://www.neei.com/~ladybug
>
>     "Act well your part, there all honor lies."
>                 ~ William Shakespeare
>
>
>_______________________________________________
>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 Feb  6 13:10:33 2004
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To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Wool- for Penny
Date: Fri, 06 Feb 2004 18:00:09 +0000
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Status: RO

I picked up some of the Lamb's Pride for what I can only describe as a "Swiss fringe" - a fringe of wool worn at the nape of the neck under/below the wrapped headdress. Although I found it a little itchy after awhile, it wasn't bad - not intolerable or distracting against my neck. I don't consider myself to be particularly sensitive to wool, but I do notice it being itchy. I try to keep linen between myself and the wool when I'm wearing it. Robin tells me that worsted is the way to go - I'm still looking for worsted in a color and price I like. The Lamb's Pride says it's "worsted", but I'm getting the impression that in yarn, it's something different than yardage. All the acrylic yarn I looked at at JoAnn's *said* it was worsted, but I though that applied to the length of the wool staple. Anyone with insight? I'm not at all familiar with yarn terms. 

BTW, in the Denver area, you'll not find wool yarn at JoAnn's or Michael's - you have to go to a knitting store. It was $6.50 for the skein, of which I used maybe 10 yards. 

Melanie
> Brown Sheep Company's Lamb's Pride is the stuff that made me realize that
> wool was not the problem, but something to do with the processing thereof.
> I make socks out of this stuff with no problem, and can even buy the
> expensive hiking socks from the outdoors stores without trouble now. Here is
> a link:
> http://www.yarn.com/yarns/yarn_main.html
> enter Brown Sheep in the Manufacturer box, and it will list what they have
> by them.  Apparently now they make some cotton stuff too.  This company,
> Webs, is my favorite supplier these days, for needlework and weaving.
> -Megan
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Penny Ladnier
> Sent: Friday, February 06, 2004 1:52 AM
> To: Historical Costume
> Subject: Re: [h-cost] Wool
> 
> 
> Can anyone suggest brands of wool yarn to purchase that is not real
> expensive?  Any websites to purchase?
> 
> Penny E. 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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> 
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From h-costume-bounces@indra.com  Fri Feb  6 13:29:41 2004
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Subject: [h-cost] Wool and West Yorkshire
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Penny and others searching...

For decent, next-to-the-skin type wool yarns, try a search for Green
Mountain Spinnery, which uses organic fine wools and doesn't process them
harshly.  Also Koigu merino yarns, and Morehouse Farm yarns.  All should
turn up on an internet search.

The trouble with the harsh processing is that they use chemicals to remove
all vegetable matter from the wool before it's combed or carded.  The
chemicals open up all the scales in the fibres, which they don't close up.
So instead of a smooth fibre it's all scratchy for those of us with
sensitive skin, and of course it's exacerbated by the further
carding/spinning/dyeing.  All the above suppliers don't use harsh processes.

One of the reasons I started handspinning was to control the quality of the
yarn I produced, as well as design it for what I wanted.  The green stuff
I'm spinning at the moment is Polwarth, from which I'm knitting a
long-sleeved T-shirt (with bobbles round the edges) for wearing as a bottom
layer.  And I've got sensitive dry skin prone to eczema, and for years
thought I couldn't wear wool at all.

Dawn
I live in Baildon, Bradford, and work in Roundhay.  Where in Leeds are you?
Are you the one with the costuming business that includes Napoleonic-era
uniforms (vague memory itching at back of head).  I'd love to come and
visit.

Freyalyn, trying to be useful.

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From h-costume-bounces@indra.com  Fri Feb  6 13:43:37 2004
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Subject: [h-cost] Living History Groups in UK and France
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Hey all,

I am traveling to Europe this summer to study merovingian textiles 
(France June 15-July 5, UK July 5- July 19) and am interested in 
learning the locations of any really good living history groups.   I 
know Jorvik, and I think there is one in York, but I'm not sure.  Does 
anyone know some good places to visit?  I'm interested in time period 
400-800 AD, and late Roman provincial.

I'm also interested in finding a traveling partner and/or inexpensive 
places to stay in Paris and London, as well as a few small towns (Sens, 
Chelles, Lyon, Dordogne region, Loire region, and areas north of 
London).  I'm an easy traveling partner, honest.  :D

Thanks!

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

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Hi,
I am Bjarne Drews, male costumer (mostly 18th century) 49 years old :-( and i also make bobbin lace and embroidery.
I was educated from "Skolen for Brugskunst" (art and craft school, where i studyed historical costume 4 years. I was the only pupil who did that, my fellow students wanted to become fashion designers. I learned everything here, drawing painting, tailoring, cutting, sewing, draping - you name it, all that has something to do with clothing.
For many years, i made costumes with my imagination, and did not take any considerations about wich fibers was used in the period i made for. For instance i made late elizabethan costumes with appliqued lace motifs sewed with sparkling palliettes, (laughs) and i thoaght it was beautifull and very historically.
But i did make the right undergarments though...........
The last few years, i have become more and more aware of what not to use, and why. 
Until a few years ago, i mostly made for females, but lately i have become quite fund of making male costumes also, so i am still learning and willing to make sacrifices to be more authentic.
I love this group, and it is one of my first to do things when i get home from work, to see if there are any interresting topics, perhaps this is one of the reasons i asked who was here, because i missed the old days when this group was very buisy.

Bjarne  





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: Re: [h-cost] Costuming mythology (was:New book on men's dress -
	anyoneseen? )
Date: Fri, 6 Feb 2004 14:20:55 -0500
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Having grown up in New England in the last century, there sure was a carry
over of the idea of not showing your wealth 'on your back'.
Simplicity was supposed to be the way to present yourself to the world
abroad...perhaps even to the extent of passing that 'simplicity' off as
homespun.  We do remember do we not that Boston IS the hub of the Universe!
Kathleen----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Friday, February 06, 2004 11:30 AM
Subject: [h-cost] Costuming mythology (was:New book on men's dress -
anyoneseen? )


> David Webb <alderweb@vaxxine.com>  quoted from the following review:
> >...the American political imagination on the eve of Independence. In a
time
> >when homespun attire was a popular expression of civic virtue, homemade
> >clothing was widely regarded as a reflection of America's most cherished
> >republican values: simplicity, industriousness, frugality, and
> >independence.
>
> Whether this was actually true or not, I'm seeing a connection here
between
> this perception of the colonial era, and the (seemingly) commonly held
> misperceptions of earlier clothing - for example "Medieval clothing should
> be homespun and look really rustic."
>
> Marc
>
> _________________________________________________________________
> Get some great ideas here for your sweetheart on Valentine's Day - and
> beyond. http://special.msn.com/network/celebrateromance.armx
>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] chenille embroidery on justaucorps
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Hi again.
For some days i had hoped for better weather with a little sunsshine, but no 
It is dull and dark as always. Well i used a bright lamp to light up my embroidery and took some photos for you to see. Mind you, the colours are not right, but it could give you an idea.
When the sun comes, ill promise to take some better ones.
http://www.my-drewscostumes.dk/chenillesuit.htm

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: Re: [h-cost] chenille embroidery on justaucorps
From: Lynn Downward <LDownward@chori.org>
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This work is incredible!! Bjarne, you only get better and better. I'm so
impressed. Thank you for not waiting for good weather and lighting to share
this wonderful work with us.

LynnD

On 2/6/04 11:18 AM, "Bjarne og Leif Drews" <drewscph@post12.tele.dk> wrote:

> Hi again.
> For some days i had hoped for better weather with a little sunsshine, but no
> It is dull and dark as always. Well i used a bright lamp to light up my
> embroidery and took some photos for you to see. Mind you, the colours are not
> right, but it could give you an idea.
> When the sun comes, ill promise to take some better ones.
> http://www.my-drewscostumes.dk/chenillesuit.htm
> 
> Bjarne
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> _______________________________________________
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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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Subject: Re: [h-cost] Living History Groups in UK and France
Date: Fri, 6 Feb 2004 18:53:42 -0000
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Regia Anglorium are the main dark ages group over here in teh uk they have a
website which should list all their events.
The Roman groups are the Ermine Street Guard and Legion Augusta again
details on eh web as far as I know
English Heritage special events dept run many events over the year of
various periods at historic houses so check them out as well

Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716
----- Original Message ----- 
From: "Althea Turner" <althea@alfalfapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, February 06, 2004 6:47 PM
Subject: [h-cost] Living History Groups in UK and France


> Hey all,
>
> I am traveling to Europe this summer to study merovingian textiles
> (France June 15-July 5, UK July 5- July 19) and am interested in
> learning the locations of any really good living history groups.   I
> know Jorvik, and I think there is one in York, but I'm not sure.  Does
> anyone know some good places to visit?  I'm interested in time period
> 400-800 AD, and late Roman provincial.
>
> I'm also interested in finding a traveling partner and/or inexpensive
> places to stay in Paris and London, as well as a few small towns (Sens,
> Chelles, Lyon, Dordogne region, Loire region, and areas north of
> London).  I'm an easy traveling partner, honest.  :D
>
> Thanks!
>
> Althea Turner
> *** althea@alfalfapress.com
> *** http://www.alfalfapress.com
>
>


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Subject: Re: [h-cost] chenille embroidery on justaucorps
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Since the design of the embroidery has changed motifs, are you making
another suit at the same time as the one above, sporting primroses? The
flowers all look pickable.
Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Friday, February 06, 2004 2:18 PM
Subject: [h-cost] chenille embroidery on justaucorps


Hi again.
For some days i had hoped for better weather with a little sunsshine, but no
It is dull and dark as always. Well i used a bright lamp to light up my
embroidery and took some photos for you to see. Mind you, the colours are
not right, but it could give you an idea.
When the sun comes, ill promise to take some better ones.
http://www.my-drewscostumes.dk/chenillesuit.htm

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: [h-cost] Thanks and another question
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Thanks for the great links everyone.  They gave me plenty of info on the 
proper cut, etc. and I may try some washed wool tests to see if I might be 
able to wear it on the outside.  I see the difference between what I was 
doing and what I should be doing.

Now, does anyone have an online putting in gussets/gores "for dummies"?  
I've done them before but I'd like to visually refresh my memory before I 
launch into something and get frazzled.


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

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

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Date: Fri, 06 Feb 2004 12:34:32 -0800
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From: Carolyn Kayta Barrows <kayta@frys.com>
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http://www.museumoflondon.org.uk/MOLsite/exhibits/prittlewell/index.htm

You can click on 'objects' to see more.

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

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Date: Fri, 06 Feb 2004 14:24:58 -0800
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> > Annette wrote :
> > 3. Know that some threads have a definite direction. When you cut a
> > length of thread off a spool do you thread the needle with the end
> > that was newly cut, or the "older" cut? Try to be consistent in
> > this, and if a particular thread is constantly causing problems, try
> > threading it through the needle the other way. (This is particularly
> > true of metallic threads and silk, but often also with thicker
> > threads like buttonhole twist.)
> OK, now I'm confused. The twist will be the same regardless of which
> end goes through the needle, right? So it shouldn't matter which end
> of the thread goes through the needle first.
> 
> If that doesn't make sense, draw a picture of thread with a twist: _ 
> _  _  _  _  _  _  _  _  _
>  \_ \_ \_ \_ \_ \_ \_ \_ \_ \_
> 
> Look at it right side up and upside down. The twist is still the same.
> 
> --Robin

The twist is the same, but the processing of the fibres makes a big 
difference.

This is especially important in embroidery flosses, but I've found 
the same to be true with regular threads. (I notice that when I use 
thread off a bobbin it tends to knot up more easily than when I use 
it off the spool. But that's because the thread is essentially 
"turned around" on a bobbin.)

Kat
<kat@redtrollforge.com>


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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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Subject: Re: [h-cost] Wool and West Yorkshire
Date: Fri, 6 Feb 2004 20:32:36 -0000
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Yep that's me
I live 2 mins from teh white Rose Centre and planning a town centre studio
very soon
I'm in london atm but let's meet up when I'm back :-)
Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716
> Dawn
> I live in Baildon, Bradford, and work in Roundhay.  Where in Leeds are
you?
> Are you the one with the costuming business that includes Napoleonic-era
> uniforms (vague memory itching at back of head).  I'd love to come and
> visit.
>
> Freyalyn, trying to be useful.
>


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>  Incidentally, the metallic
> machine embroidery thread suffers a similar shredding problem which is
> caused by the eye of the machine needle heating up as the metal runs
> through it.

Using a Microtec (or is it Microtex) needle instead of a regular one 
can help with this. These needles are specially made to work better 
for machine use with metallics/mylar. They also work better when you 
are sewing on fabrics with some metallic (or mylar) content.

Kat
<kat@redtrollforge.com>


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> Robin tells me that worsted is the way to go - I'm still looking for
worsted in a color and price I like. The Lamb's Pride says it's "worsted",
but >Im getting the impression that in yarn, it's something different than
yardage. All the acrylic yarn I looked at at JoAnn's *said* it was worsted,
>but I though that applied to the length of the wool staple. Anyone with
insight? I'm not at all familiar with yarn terms. >

Now this is one of those terms which causes all sorts of confusion.
Traditionally, 'worsted' was a form of fibre preparation and yarn spinning
which keeps all the fibres arranged along the length of the yarn, keeping
the yarn smooth, dense, and supposedly less itchy as there are less bits
sticking out.  The opposite is a 'woollen' preparation in which the fibres
go any which way within the yarn, making a much fluffier and airier yarn.
Worsted fabric is smooth, eg men's suiting, and woollen fabric is bulkier
and more likely to full and felt, ie tweed.

Worsted yarn/fabric is usually made from a longwoolled lustre sheep (such as
Wensleydale or Teeswater) and woollen from something shorter and bouncier,
like Shetland or Southdown.

Now, in American knitting yarn parlance, 'worsted' is a yarn weight,
somewhere between British double-knitting and aran thickness.  So if you'd
asked for worsted knitting yarn, you'd have got a certain thickness of yarn,
not a certain type of preparation.  (See why I now spin my own yarn?)

Possibly more information than you wanted, but hope it helps.

Freyalyn

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Subject: Re: [h-cost] Wool- for Penny
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I am wanting to make a 1970s crocheted long vest for my daughter and the
pattern calls for 16 skeins.  So I need to order it from somewhere to get
the correct dye lot.  The yarn lady at Ben Franklin's told me to avoid all
acrylic yarn because it can be stiff.  She said Red Heart brands are the
worst.  She suggested a wool or cotton blend, the higher percentage the
better.

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


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Subject: Re: [h-cost] Wool- for Penny
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If this vest is the same that my mom made me then, she used orlon. The fiber
has the weight and 'feel' of wool but is a synthetic yarn.  it washes well
and keeps its shape over time.  (I still have and wear mine as a tabard over
silk pants and shirt.
Kathleen
Wow, 34 years!!!
----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, February 06, 2004 8:27 PM
Subject: Re: [h-cost] Wool- for Penny


> I am wanting to make a 1970s crocheted long vest for my daughter and the
> pattern calls for 16 skeins.  So I need to order it from somewhere to get
> the correct dye lot.  The yarn lady at Ben Franklin's told me to avoid all
> acrylic yarn because it can be stiff.  She said Red Heart brands are the
> worst.  She suggested a wool or cotton blend, the higher percentage the
> better.
>
> Penny E. 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
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> h-costume mailing list
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>

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Subject: [h-cost] List problem?  Or is it just me.
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I am finding lately that none of my messages are posting if they have links
in them..anyone else having this problem?

 

Thanks,

 

Sg

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Subject: [h-cost] Museums upcoming
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http://www.southendmuseums.co.uk/

then scroll down some- this might interest all you Victorian 
enthusiasts....

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Subject: Re: [h-cost] AngloSaxon burial newly found
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But what kind of clothes was he wearing?  Why don't they tell us about the important stuff?  (The artist's recreation at the Southend Museums site seems to show him wearing clothes, but I guess most people are excited by the gold jewelry.)  Thanks for the link!

Janet

Janet Davis
Castle Furnishings
www.medievalbookstore.com


  http://www.museumoflondon.org.uk/MOLsite/exhibits/prittlewell/index.htm

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> But what kind of clothes was he wearing?  Why don't they tell us about the important stuff?  (The artist's recreation at the Southend Museums site seems to show him wearing clothes, but I guess most people are excited by the gold jewelry.)  Thanks for the link!

Almost nothing organic survived from this burial.  The soil is way
too acidic for anything like a body to have been preserved.  I'm not
sure there was even a sand casting in this case.

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: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] List problem?  Or is it just me.
To: Historical Costume <h-costume@indra.com>
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No, not, that I've noticed anyway----
Albra

"Saragrace T. Knauf" <saragrace@earthlink.net> wrote:
I am finding lately that none of my messages are posting if they have links
in them..anyone else having this problem?



Thanks,



Sg

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Subject: Re: [h-cost] 'Worsted' yarn
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Freyalyn,

Thank you very much for your detailed explanation.  My mother always bought
my yarn when I learned to crochet.  Ben Franklin's really has a limited
supply.  When I went to Michael's they had a large supply and it was
confusing.  Susan and I strolled into a yard store in the French Quarter of
New Orleans.  The prices were VERY expensive and not in a skein.  I didn't
look at it much... when I know I can't afford something I stay away.

I have some more questions:

What are the different yarn plys for and their uses?

Also what types of yarn are good for certain uses? Meaning, wool, cotton,
acrylic.  What is a good percentage of mix of fibers?

Are they certain yarns better to use for knitting and not crocheting and
vice versa?  I know the small cotton thread (a little thicker than
kite-string) is good for lace, tablecloths, bedspreads, and doilies.

Lastly,  I am left-handed.  Are there any websites that will show the
crochet stitches for a left-handed person.  All I have found are for
right-handed people.

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


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Subject: [h-cost] OT--for those who are into old cosmetics and medicines
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Does anyone have any idea what an herb, chemical, or commercial 
preparation called "vigo" would have been in the early 19th century?  I 
am reading an old book of cosmetic recipes where it is mentioned.  All I 
can find out about "vigo" is that it is the name of a place in Spain, 
and also a personal name.  The recipe is for a plaster for taking off 
corns, as follows:

Mix equal parts of hemlock, vigo, and diachylon.  Make of them a sort of 
thick soup; place it on the corn; cover it with a small circle of 
plaster, and cover it well with a narrow bandage. After eight days or 
so, lift the plaster. The corn will be so much softened that you may cut 
it off without resistance and without pain.

Thanks for any help.

Fran Grimble
Books on Historic Costuming
http://www.lavoltapress.com

>  
>

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----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, February 07, 2004 3:17 AM
Subject: Re: [h-cost] 'Worsted' yarn


> Freyalyn,
>
> Thank you very much for your detailed explanation.  My mother always
bought
> my yarn when I learned to crochet.  Ben Franklin's really has a limited
> supply.  When I went to Michael's they had a large supply and it was
> confusing.  Susan and I strolled into a yard store in the French Quarter
of
> New Orleans.  The prices were VERY expensive and not in a skein.  I didn't
> look at it much... when I know I can't afford something I stay away.
>
> I have some more questions:
>
> What are the different yarn plys for and their uses?
>
> Also what types of yarn are good for certain uses? Meaning, wool, cotton,
> acrylic.  What is a good percentage of mix of fibers?
>
> Are they certain yarns better to use for knitting and not crocheting and
> vice versa?  I know the small cotton thread (a little thicker than
> kite-string) is good for lace, tablecloths, bedspreads, and doilies.
>
> Lastly,  I am left-handed.  Are there any websites that will show the
> crochet stitches for a left-handed person.  All I have found are for
> right-handed people.
>
> Penny E. 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: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] AngloSaxon burial newly found
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>But what kind of clothes was he wearing?

Well, there was this buckle...

>Why don't they tell us about the important stuff?  (The artist's 
>recreation at the Southend Museums site seems to show him wearing clothes, 
>but I guess most people are excited by the gold jewelry.)  Thanks for the link!


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

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Subject: Re: [h-cost] OT--for those who are into old cosmetics and medicines
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Fran I hope that the recipe following 'might'help.
>From The Family Doctor, by Henry S. Taylor,Keystone Pub. Co....(Plainly 19th
C)no date:
Two oz. of yellow wax
Two oz. gum ammoniac
Six drachms of verdigris    (could this be perhaps shortened to vigo?)
another recipe from the same book lists white wax, spermaceti and almond
oil.
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, February 05, 2004 4:21 PM
Subject: [h-cost] OT--for those who are into old cosmetics and medicines


> Does anyone have any idea what an herb, chemical, or commercial
> preparation called "vigo" would have been in the early 19th century?  I
> am reading an old book of cosmetic recipes where it is mentioned.  All I
> can find out about "vigo" is that it is the name of a place in Spain,
> and also a personal name.  The recipe is for a plaster for taking off
> corns, as follows:
>
> Mix equal parts of hemlock, vigo, and diachylon.  Make of them a sort of
> thick soup; place it on the corn; cover it with a small circle of
> plaster, and cover it well with a narrow bandage. After eight days or
> so, lift the plaster. The corn will be so much softened that you may cut
> it off without resistance and without pain.
>
> Thanks for any help.
>
> Fran Grimble
> Books on Historic Costuming
> http://www.lavoltapress.com
>
> >
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Subject: Re: [h-cost] OT--for those who are into old cosmetics and medicines
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Status: RO

Fran here are a couple more references:
>From a F&W 1922 Dictionary, "Vigonian" (obsolete), a certain salve(?) for
treating pox.  Named after Joanne de Vigo

And from the OED: under an article on 'vigour', "Active force...drugs and
medicaments; borage and buglosse. 1599, Dr. Gabehouer"s Bk "Physicke","A
salve prepared that doth posset and curd....a laudable way of trying the
vigor of Cider by its promptness to burn."

Another amusing cure for a corn, from DR Chase's receipts, "Knick a lemon
and put over the offending toe, bind and leave it over night. The corn will
lift off easily in the morning"

Kathleen
----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, February 07, 2004 8:57 AM
Subject: Re: [h-cost] OT--for those who are into old cosmetics and medicines


> Fran I hope that the recipe following 'might'help.
> >From The Family Doctor, by Henry S. Taylor,Keystone Pub. Co....(Plainly
19th
> C)no date:
> Two oz. of yellow wax
> Two oz. gum ammoniac
> Six drachms of verdigris    (could this be perhaps shortened to vigo?)
> another recipe from the same book lists white wax, spermaceti and almond
> oil.
> Kathleen
> ----- Original Message ----- 
> From: "Lavolta Press" <fran@lavoltapress.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, February 05, 2004 4:21 PM
> Subject: [h-cost] OT--for those who are into old cosmetics and medicines
>
>
> > Does anyone have any idea what an herb, chemical, or commercial
> > preparation called "vigo" would have been in the early 19th century?  I
> > am reading an old book of cosmetic recipes where it is mentioned.  All I
> > can find out about "vigo" is that it is the name of a place in Spain,
> > and also a personal name.  The recipe is for a plaster for taking off
> > corns, as follows:
> >
> > Mix equal parts of hemlock, vigo, and diachylon.  Make of them a sort of
> > thick soup; place it on the corn; cover it with a small circle of
> > plaster, and cover it well with a narrow bandage. After eight days or
> > so, lift the plaster. The corn will be so much softened that you may cut
> > it off without resistance and without pain.
> >
> > Thanks for any help.
> >
> > Fran Grimble
> > Books on Historic Costuming
> > http://www.lavoltapress.com
> >
> > >
> > >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Subject: [h-cost] Drawings of Tudor Nobility Costume manuscript?
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Hi all,

I have come across an item at Lacma which is baffling me. It's
described as:
England
   Costume Drawings of Tudor Nobility with Manuscript Additions
   circa 1511
   Ink and gouache on paper
   M.85.81a-d
   Drawing; Costume/textile works on paper

The Url is tricky, since it doesn't seem to reflect internal site
changes, but for what it's worth:

http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=ks&direct=
yes

The problem is that it really looks much earlier. That and the vast
amounts of ermine on the outside....

What does the team think?

best wishes
Stevie

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 I haven't seen that, but my messages show up without any spaces...annoying......................................Wendy.......................................--- On Sat 02/07, KATHRYN WOLTERS &lt; albrakat7@yahoo.com &gt; wrote:
From: KATHRYN WOLTERS [mailto: albrakat7@yahoo.com]To: h-costume@indra.comDate: Fri, 6 Feb 2004 22:41:58 -0800 (PST)Subject: Re: [h-cost] List problem? Or is it just me.No, not, that I've noticed anyway----Albra"Saragrace T. Knauf" wrote:I am finding lately that none of my messages are posting if they have linksin them..anyone else having this problem?Thanks,Sg_______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume---------------------------------Do you Yahoo!?Yahoo! Finance: Get your refund fast by filing online_______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://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] Drawings of Tudor Nobility Costume manuscript?
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On Sat, 7 Feb 2004, Stevie Gamble wrote:

> I have come across an item at Lacma which is baffling me. It's
> described as:
> England
>    Costume Drawings of Tudor Nobility with Manuscript Additions
>    circa 1511
>    Ink and gouache on paper
>    M.85.81a-d
>    Drawing; Costume/textile works on paper
> 
> The Url is tricky, since it doesn't seem to reflect internal site
> changes, but for what it's worth:
> 
> http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=ks&direct=
> yes
> 
> The problem is that it really looks much earlier. That and the vast
> amounts of ermine on the outside....

>From the left-hand page, it looks like this is intended to show various
traditional ways of rendering "ermine" in drawings. For the costumes, it
looks like the artist picked styles, mostly from the past, that
traditionally use large quantities of ermine. It is not unlikely that the
images were copied out of historic sources -- other manuscripts, etc. --
as examples of the various means of renderings. The image is too small for
me to read enough of the left-hand page to tell what the distinctions are
between ermine examples; I can make out only a few words. However, if I
had to guess, I think it's a key to where the types of ermine spots were
found -- I think I made out "bonnet" and "gown" in some of the labels, and
the rest of the phrases appear possibly to be references to which source
(or what type of image) they were found in.

All but the last of the images are of some version of a ceremonial
sideless surcote, which was used for symbolic renderings of the Queen in
State through at least 1500 and occasionally thereafter -- long after the
dress would ever have been worn in life. I've seen similar images in
heraldic manuscripts and in a couple of Tudor/Elizabethan manuscripts in
which the sideless surcote is pretty clearly meant to have an iconographic
function. In particular, the upper right and lower left images (with the
mantles) are dead ringers for images from a particular roll of arms I have
somewhere in my file, and I wouldn't be surprised if they were copied
right out of it. In all of the first four images, the rendering of the
lines of the clothing looks as though the artist was was copying without
any sense of what the lines were supposed to mean (many generations of
renderings earlier, when they had some connection to real clothing).

The lower right image (labeled "Lady") looks more realistic, around 1490
perhaps, and may have been copied from a manuscript of that time.

This is much earlier than the books we traditionally think of as
compilations of historic costume. From the sparse information on the site,
I gather these pages are loose sheets, not part of a surviving book. I
wonder if it was really intended to be "costume drawings," or if that's a
modern cataloger's guess. I'd speculate that it was in fact part of a
model-book for heraldic renderings or similar manuscript functions.

--Robin


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Wool- for Penny
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Our Michael's has some pretty inexpensive wool blends.  Don't recall, 
off-hand, if they have 100% wools.
On the other hand, they're pretty bad about keeping things like knitting 
needles in stock! <g>
--sue

eirenetz@comcast.net wrote:

> BTW, in the Denver area, you'll not find wool yarn at JoAnn's or Michael's - you have to go to a knitting store. It was $6.50 for the skein, of which I used maybe 10 yards. 


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From h-costume-bounces@indra.com  Sat Feb  7 16:45:04 2004
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To: h-costume@indra.com
Date: Sat, 7 Feb 2004 14:43:46 -0700
Subject: Re: [h-cost] Re: who is here-ROLL CALL
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<raises hand from back>  Yup, I'm here... Pat/Astrid from Colorado,
primarily lurker.  Don't do alot of truly historical clothing, but I do
use it as a bit of an influence in the costuming that I do.  Currently,
my love and passion is the barbarian horde that I am a member of.  Mostly
working on the leather armor that came from a couple characters from the
series of Hercules: The Legendary Journeys.  Really gotta get that Xena
thing done too for some other things.  (Leather SOOOOO fits me!
<chuckle>)  Also taking some inspiration for leather wear for winter
barbarian activities so that I can stay warmer than my current things
allow.  If interested, I believe I have the costumes all shown except for
a couple on my costume page... the link is in my sig.  Anyhow, that's
about it.  I've found some very useful information here, as well as quite
knowledgable people.  This is a wonderful list.

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

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Subject: [h-cost] Re: needles
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It's actually Metallica (NOT the band!!) needles for sewing/machine 
embroidery with metallic threads.  Microtex needles are for sewing on 
microfiber fabrics.  They would probably be good for woven metallic fabrics 
as well - they have a thinner and sharper point than regular needles.  I 
used microfiber once for a costume - the Microtex needles definitely made a 
difference!

Sandy

>From: kat@grendal.rain.com
>
> >  Incidentally, the metallic
> > machine embroidery thread suffers a similar shredding problem which is
> > caused by the eye of the machine needle heating up as the metal runs
> > through it.
>
>Using a Microtec (or is it Microtex) needle instead of a regular one
>can help with this. These needles are specially made to work better
>for machine use with metallics/mylar. They also work better when you
>are sewing on fabrics with some metallic (or mylar) content.
>
>Kat
><kat@redtrollforge.com>

"Those Who Fail To Learn History
Are Doomed to Repeat It;
Those Who Fail To Learn History Correctly --
Why They Are Simply Doomed.

Achemdro'hm
"The Illusion of Historical Fact"
  -- C.Y. 4971

Andromeda  


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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
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	<002d01c3ed7d$3fdabaa0$6a5183d1@rmitchellras>
Subject: Re: [h-cost] 'Worsted' yarn
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Your message didn't show up.  Can you please send it again.  See below.

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, February 07, 2004 8:21 AM
Subject: Re: [h-cost] 'Worsted' yarn


> 


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At Fri, 6 Feb 2004 20:27:22 -0500, "Penny Ladnier" 
<penny@costumegallery.com> wrote:

>I am wanting to make a 1970s crocheted long vest for my daughter and the
>pattern calls for 16 skeins.  So I need to order it from somewhere to get
>the correct dye lot.  The yarn lady at Ben Franklin's told me to avoid all
>acrylic yarn because it can be stiff.

If you're looking for historical accuracy... acrylic is all my mom and most 
of her friends ever used at the time, and of course all I used (either 
Mom's leftovers or what I could afford from my allowance). If you're doing 
a granny-square vest or a filet-type vest, the softness is built in by the 
openness (shell stitch on the granny squares, the open squares of the 
"filet"). In the early '70's, when the vests were still hip length, we'd 
also have matching skirts -- either crocheted in a solid stitch (single- or 
double-crochet the whole length and width), or lined in a matching 
(acetate) lining, or solid-stitched-AND-lined.

At Fri, 6 Feb 2004 22:17:46 -0500, "Lloyd Mitchell" 
<rmitchell@washjeff.edu> wrote:

>If this vest is the same that my mom made me then, she used orlon.

Maybe that was it. But isn't orlon an acrylic?

>The fiber has the weight and 'feel' of wool but is a synthetic yarn.

>it washes well and keeps its shape over time.  (I still have and wear mine 
>as a tabard over silk pants and shirt.
>Kathleen
>Wow, 34 years!!!


Brenda, onetime-owner of Mom-crocheted purple and yellow skirt-and-vest sets
webwarren@earthlink.net 


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From: "Penny Ladnier" <penny@costumegallery.com>
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Brenda,

The pattern was free from Coats & Clark at Ben Franklins.  The weave is very
loose, and looks like its using double trebles.  There are no shells.  Since
Coats & Clark put out the pattern and they product Red Heart yarn, maybe it
would be best to use.

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


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Okay, I'm a little late replying to this (been sick this week).
I don't know how far you like to travel for Ren Faires, but the
Kansas City faire is an 8-hour drive. Or 6 hours if you drive
like me. ;-)  It starts labor day weekend
and runs 7 weekends. There are a couple of us on this
list that have it as our home faire. It's a pretty fun one (although
it does tend to be more "fantasy" based than historically accurate).

I know how you feel about Costume-Cons!
Since I like fantasy costuming just as much as historical, they are
great places to learn. And lots of eye-candy. <grin>
I went to the one in Chicago last year (only my second con) and
can't wait for the one in Des Moines in a couple of years. Only
3 hours away from me!

Sheryl Nance-Durst

At 11:48 AM 2/3/04 -0600, you wrote:
>I'm Allison Pace, mostly a lurker.  I live in Little Rock, AR, and am a 
>voice-over actress by day.  I've been an actress and a sewer for many 
>years, and I also like most types of craft work, whether it's props or 
>hatmaking or jewelry.  My downfall is that I seem to want to do so much, I 
>never quite finish anything.  I've got the requisite tonnage of fabric and 
>supplies and books and plans to complete things, and I have trouble 
>focusing!  Been doing mostly Renaissance (English/French/Spanish) stuff, 
>but want to do some Italian Ren, am planning an 1870's Victorian, and 
>would love an excuse to do a full-out 18C set, complete with wig!  When 
>I'm working for a theatre with low-budget costuming (or, in many 
>unfortunate cases, a costumer who doesn't *get* it) I have been known to 
>make/find my own costumes, or at the very least, take them home and alter 
>them so they fit me.  Two or three years ago I discovered Renaissance 
>Faires, and now I consider myself a historic costume geek.  I haven't 
>found many like-minded folks with the time and interest to play with here, 
>so I've been known to travel to other places for a fix.  (hint hint)  I'm 
>always open to joining someone at a Ren Faire for the weekend!  I've been 
>to one Costume Con, with no knowledge of just what to expect, but this 
>year am drooling with anticipation.



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Subject: Re: [h-cost] Re: h-costume Digest, Vol 3, Issue 89
Date: Sat, 7 Feb 2004 19:46:38 -0500
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On Saturday 07 February 2004 03:44 pm, Brenda Bell wrote:
> At Fri, 6 Feb 2004 20:27:22 -0500, "Penny Ladnier"
>
> <penny@costumegallery.com> wrote:
> >I am wanting to make a 1970s crocheted long vest for my daughter and the
> >pattern calls for 16 skeins.  So I need to order it from somewhere to get
> >the correct dye lot.  The yarn lady at Ben Franklin's told me to avoid all
> >acrylic yarn because it can be stiff.

I'm surprised the clerk said that.  All the acrylic yarn and yarn products 
I've seen have been *softer* than most other synthetic fibers.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: [h-cost] Semi-OT: JoAnn's Sale
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On the off chance that there are costumers in the Pittsburgh area, Jo-Ann's 
Fabrics at the Robinson Town Center is having a "moving sale".  EVERYTHING, 
apparently, has to be gotten rid of, because they're moving into a larger 
JoAnn's.  Patterns are going for $.99, Vogue at $1.99 (best I've ever seen that brand 
at).  Fabric is basically half off literally everything in the store.  Trims 
are 40% off, and they still have tons of the good stuff left (including 100% 
cotton cluny lace in a couple widths, and lots of yummy Europa trims).  Things 
are ranging from 40% to 70% off.  Unfortunately they won't honor flyer coupons 
as well, but I bought seven patterns and five yards of cluny, and spent under 
$20.  I would have bought more, but I had a non-sewing friend with me, who 
had already been incredibly patient ;)

Anyhow, just a heads-up to those in the area!

Christine
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Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
Date: Sat, 7 Feb 2004 21:52:14 -0500
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I'm no expert on the matter, but that style of sideless surcote was kept in
use for ceremonial occasions (coronations, burials, etc) way, way after it
went out of fashion. I didn't think it went so late as the 1500's, but I
wouldn't be surprised either if it was the case.

----- Original Message ----- 
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Saturday, February 07, 2004 7:13 AM
Subject: [h-cost] Drawings of Tudor Nobility Costume manuscript?


> Hi all,
>
> I have come across an item at Lacma which is baffling me. It's
> described as:
> England
>    Costume Drawings of Tudor Nobility with Manuscript Additions
>    circa 1511
>    Ink and gouache on paper
>    M.85.81a-d
>    Drawing; Costume/textile works on paper
>
> The Url is tricky, since it doesn't seem to reflect internal site
> changes, but for what it's worth:
>
> http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=ks&direct=
> yes
>
> The problem is that it really looks much earlier. That and the vast
> amounts of ermine on the outside....
>
> What does the team think?
>
> best wishes
> Stevie
>
> _______________________________________________
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>
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For anyone who is going to or through Cleveland in the near future, the Cleveland Museum of Art has a small special exhibit of mostly Renaissance textiles (a few earlier).  I think everything was from their collection but some of it is not usually on display.  Unfortunately, there is no book available. 

Janet

Janet Davis
Castle Furnishings
www.medievalbookstore.com
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
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I've seen references to a "Circoate" furred with Ermine as part of Queen
Elizabeth's coronation robes...dunno if it's the same thing as what we
consider a sideless surcote, but interesting.

Drea


On Sat, 7 Feb 2004, Audrey Bergeron-Morin wrote:

> I'm no expert on the matter, but that style of sideless surcote was kept in
> use for ceremonial occasions (coronations, burials, etc) way, way after it
> went out of fashion. I didn't think it went so late as the 1500's, but I
> wouldn't be surprised either if it was the case.
>
> ----- Original Message -----
> From: "Stevie Gamble" <stevie.gamble@btinternet.com>
> To: <h-costume@indra.com>
> Sent: Saturday, February 07, 2004 7:13 AM
> Subject: [h-cost] Drawings of Tudor Nobility Costume manuscript?
>
>
> > Hi all,
> >
> > I have come across an item at Lacma which is baffling me. It's
> > described as:
> > England
> >    Costume Drawings of Tudor Nobility with Manuscript Additions
> >    circa 1511
> >    Ink and gouache on paper
> >    M.85.81a-d
> >    Drawing; Costume/textile works on paper
> >
> > The Url is tricky, since it doesn't seem to reflect internal site
> > changes, but for what it's worth:
> >
> > http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=ks&direct=
> > yes
> >
> > The problem is that it really looks much earlier. That and the vast
> > amounts of ermine on the outside....
> >
> > What does the team think?
> >
> > best wishes
> > Stevie
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> _______________________________________________
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
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Robin wrote, in response to my note of  Sat, 7 Feb 2004,

> > I have come across an item at Lacma which is baffling me. It's
> > described as:
> > England
> >    Costume Drawings of Tudor Nobility with Manuscript Additions
> >    circa 1511
> >    Ink and gouache on paper
> >    M.85.81a-d
> >    Drawing; Costume/textile works on paper
> >
> > The Url is tricky, since it doesn't seem to reflect internal site
> > changes, but for what it's worth:
> >
> >
http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=ks&direct=
> > yes
> >
> > The problem is that it really looks much earlier. That and the
vast
> > amounts of ermine on the outside....


>From the left-hand page, it looks like this is intended to show
various
> traditional ways of rendering "ermine" in drawings.

My glasses are not up to the task of following the text, but what
struck me was that there seem to be a lot more groups of annotations
than there are actual examples; can anyone 'break the code' of the
references?

>For the costumes, it
> looks like the artist picked styles, mostly from the past, that
> traditionally use large quantities of ermine. It is not unlikely
that the
> images were copied out of historic sources -- other manuscripts,
etc. --
> as examples of the various means of renderings. The image is too
small for
> me to read enough of the left-hand page to tell what the
distinctions are
> between ermine examples; I can make out only a few words. However,
if I
> had to guess, I think it's a key to where the types of ermine spots
were
> found -- I think I made out "bonnet" and "gown" in some of the
labels, and
> the rest of the phrases appear possibly to be references to which
source
> (or what type of image) they were found in.
> All but the last of the images are of some version of a ceremonial
> sideless surcote, which was used for symbolic renderings of the
Queen in
> State through at least 1500 and occasionally thereafter -- long
after the
> dress would ever have been worn in life. I've seen similar images in
> heraldic manuscripts and in a couple of Tudor/Elizabethan
manuscripts in
> which the sideless surcote is pretty clearly meant to have an
iconographic
> function. In particular, the upper right and lower left images (with
the
> mantles) are dead ringers for images from a particular roll of arms
I have
> somewhere in my file, and I wouldn't be surprised if they were
copied
> right out of it. In all of the first four images, the rendering of
the
> lines of the clothing looks as though the artist was was copying
without
> any sense of what the lines were supposed to mean (many generations
of
> renderings earlier, when they had some connection to real clothing).
>

I wondered about the dating; if they have it right then it is
relatively soon after Henry VIII's coronation, and that of his wife.
That would be the most obvious ocasion upon which people would be
breaking out the signatures of rank, ermine being a primary one, and
coronation garb was not noted for being up to the minute. The rather
strange picture on the top left makes sense as a very bad reproduction
of  long flowing hair; icon of virginity as well as queenship, and
Catherine of Aragon was undoubtedly in need of both. Her marriage to
Henry took place in the same year of course. The only
referenced image that I have been able to turn up quickly is
apparently in Cambridge University Library:

http://www.tudorplace.com.ar/images/HenryVIII03coronation.jpg

and though she undoubtedly has loose hair she seems to be bereft of
ermine.

There's another Coronation image of Henry at the same site:

http://www.tudorplace.com.ar/images/HenryVIII04coronation2.jpg

though with no indication of source, and it doesn't look much like the
Cambridge one. There are some heraldic indications, though.
The top right and bottom left image appear to be the same one,
differing only in scale; again, I can't understand this in the context
of these papers; anyone any clues on this?


> The lower right image (labeled "Lady") looks more realistic, around
1490
> perhaps, and may have been copied from a manuscript of that time.
>
> This is much earlier than the books we traditionally think of as
> compilations of historic costume. From the sparse information on the
site,
> I gather these pages are loose sheets, not part of a surviving book.
I
> wonder if it was really intended to be "costume drawings," or if
that's a
> modern cataloger's guess. I'd speculate that it was in fact part of
a
> model-book for heraldic renderings or similar manuscript functions.

I'm sure that the attribution is far from iron-clad; I started out
hoping it was an aide-memoire for workers in the fur trade lumbered
with the infinitely tedious job of 'powdering' the ermine for a range
of nobility. We all look for things we find interesting... A more
likely hypothesis, if the dating is correct, is some link to the new
monarch and the Tudor PR machine.
But I can just see someone proudly reproducing one of these as an
authentic 1511 English noblewoman's outfit, and pointing to the
magnificent evidence of this document:-)

best wishes
Stevie


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
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On Sat, 7 Feb 2004, Stevie Gamble wrote:

> My glasses are not up to the task of following the text, but what
> struck me was that there seem to be a lot more groups of annotations
> than there are actual examples; can anyone 'break the code' of the
> references?

I don't think the examples on the left need necessarily line up with the
pictures on the right. The examples on the left differ in density, and
most of the labels seem to end with a fraction -- 3/4, 1/4, 1/2 -- that
may correspond to the density of ermine spots. This may well be
instructions to an artist rather than to a furrier, though; that is,
telling how to paint different types rather than how to actually make
them. However, I do catch some words on the left that indicate some refer
to a "gowne," others to (possibly?) "bonnet," and others to I'm not sure
what. I had hoped to see "mantell" as well, but it's not there.

It might simply be saying "Here are some ways ermine spots have been shown
in various drawings." It could be an artist's notes of designs he'd seen
elsewhere and wanted to keep a record of as reference. I'd know more if I
could see the paper itself. I'd particularly like to see the labels on the
figures in more detail; I can make out only the last. (It's not your
glasses -- the scan is not detailed enough in enlargement.)

> I wondered about the dating; if they have it right then it is
> relatively soon after Henry VIII's coronation, and that of his wife.

I think it might be too much of a stretch to assume that these images show
actual current clothing, even coronation dress. If these are simply
examples of ermine representation copied out of older manuscripts, the
styles of the clothing would be no more relevant to current wear than,
say, the images in a modern costume overview would be relevant to the time
the book was published. And not all of the images are coronation clothing
-- the last one is simply labeled "Lady." If the other labels are equally
generic, then they may just indicate "Here's how to represent X type of
person" or something similar.

> ... The top right and bottom left image appear to be the same one,
> differing only in scale; again, I can't understand this in the context
> of these papers; anyone any clues on this?

Perhaps they're two examples taken from the same source, such as the roll
of arms I mentioned earlier -- which includes many repeated figures that
are identical except for the names or heraldry. In these, the number,
type, or distribution of ermine spots may be different in some crucial
way, which might be the relevant point here.

Now I want to go down to L.A. and see for myself! And it's not even my
period...

I do wonder about the dating. The handwriting could easily be
mid-15th-century, but it's been a long time since I did any solid work in
dating of handwriting, and even if I were in practice, I can't see enough
details to get a good clue.

--Robin


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
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On Sat, 7 Feb 2004, Audrey Bergeron-Morin wrote:

> I'm no expert on the matter, but that style of sideless surcote was
> kept in use for ceremonial occasions (coronations, burials, etc) way,
> way after it went out of fashion. I didn't think it went so late as
> the 1500's, but I wouldn't be surprised either if it was the case.

You're correct that the style remained in fossilized use as ceremonial
clothing long after it ceased to be worn in life, but I'd put actual
ceremonial use in the early/mid 15th c. The artistic usage went on even
later. It drops way off by 1500 or so, but I've seen it (very rarely) in
visual images through Elizabeth's reign, always in highly iconographic
contexts (and often depicted in a physically unlikely manner that shows no
understanding on the artist's part of how the garments would have been
worn in reality). I am 99.9% certain the later (16th-c.) images did not
represent actual clothing, even coronation clothing, but simply were
iconographic shorthand.

(This is a special interest of mine. Some years ago I did a content
analysis of a couple hundred surcote images, correlating date with such
features as style, amount of fur, wearer's identity/rank, and
situation/context. The movement was quite clear, starting with realistic
use, to realistic use by royalty, to ceremonial use by royalty, and
finally to iconographic use primarily to denote dead royalty and certain
religious figures. At some point I'm going to re-do the whole analysis in
more detail with the additional images I've been collecting over the
years.)

--Robin

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Oriental surcoat
Date: Sat, 7 Feb 2004 07:03:34 -0700
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That is really interesting.  I can't answer your questions, but it wouldn't
surprise me.  There were certainly trade routes established by then...and
they were weaving very fine products (lots of very sheer veils etc.)  There
was a lot Norris gets a bad rap in my opinion......its like every
source...you can't believe everything you read or see.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan
Sent: Thursday, February 05, 2004 10:28 PM
To: Historical Costume
Subject: [h-cost] Oriental surcoat

Hi,

I was doing some reading and ran across a 11th/12th cent garment called a
Oriental (or persian) surcoat. Since this was in Norris, I was wondering if
there was any other information about it.

Was it really known to be a transparent silk coat worn over brightly colored
bliauts?

Susan in Bellevue
Rollcall:
known in the SCA as Susan Paraventur
lives in the seattle area and am active in SCA, Beyond Reality, Cons, and
sometimes Somewhere in Time.  I make a wide variety of costumes, from fairly
accurate historical to fantasy outfits.  Historical ranges from Greek (I did
start an egyptian, but didn't finish it) to the 30s (of last century)
Historical ranges from I make it up cause I think it'll look cool to media
reproductions (usually movie/tv, but I have done books).  I love glittery
costumes and can often be seen at cons in really really glittery dresses,
the last one was Orange.  Teddy would have been happy.  I've been on this
list pretty steadily for the past ten years.


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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10402080113080.4780-100000@shell.nightowl.net>
Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
Date: Sun, 8 Feb 2004 12:29:29 -0000
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Robin wrote, on  Sunday, February 08, 2004 ,  Re: [h-cost] Drawings of
Tudor Nobility Costume manuscript?


> > I wondered about the dating; if they have it right then it is
> > relatively soon after Henry VIII's coronation, and that of his
wife.
>
> I think it might be too much of a stretch to assume that these
images show
> actual current clothing, even coronation dress.

I agree; I didn't express myself clearly. My thought was that if this
was an aide-memoire for representations of the coronation to feed the
PR machine then there would be strong reasons to  represent figures in
what amounted to archaic dress. The Tudors were, after all, parvenus
whose origins did not bear scrutiny; the more links with ancient
majesty the better, from their perspective.


> Now I want to go down to L.A. and see for myself! And it's not even
my
> period...
> I do wonder about the dating. The handwriting could easily be
> mid-15th-century

Indeed. I think you should go, too:-) The only thing which troubles me
about a dating 60 years earlier is that 'Holbeinesque' head covering
on one of the ladies. Perhaps our headress/hats specialists could
comment on the headgear?

best wishes
Stevie

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From h-costume-bounces@indra.com  Sun Feb  8 08:47:31 2004
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Subject: Re: [h-cost] Re: h-costume Digest, Vol 3, Issue 89
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orlon may be an acrylic. Perhaps that particular fiber denoted the 'hand' of
wool which it was replacing.
Kathleen, who has a trunk full of Irish sweaters, and 'granny goods' made by
her mother.
----- Original Message ----- 
From: "Brenda Bell" <webwarren@earthlink.net>
To: <h-costume@indra.com>
Sent: Saturday, February 07, 2004 3:44 PM
Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 89


> At Fri, 6 Feb 2004 20:27:22 -0500, "Penny Ladnier"
> <penny@costumegallery.com> wrote:
>
> >I am wanting to make a 1970s crocheted long vest for my daughter and the
> >pattern calls for 16 skeins.  So I need to order it from somewhere to get
> >the correct dye lot.  The yarn lady at Ben Franklin's told me to avoid
all
> >acrylic yarn because it can be stiff.
>
> If you're looking for historical accuracy... acrylic is all my mom and
most
> of her friends ever used at the time, and of course all I used (either
> Mom's leftovers or what I could afford from my allowance). If you're doing
> a granny-square vest or a filet-type vest, the softness is built in by the
> openness (shell stitch on the granny squares, the open squares of the
> "filet"). In the early '70's, when the vests were still hip length, we'd
> also have matching skirts -- either crocheted in a solid stitch (single-
or
> double-crochet the whole length and width), or lined in a matching
> (acetate) lining, or solid-stitched-AND-lined.
>
> At Fri, 6 Feb 2004 22:17:46 -0500, "Lloyd Mitchell"
> <rmitchell@washjeff.edu> wrote:
>
> >If this vest is the same that my mom made me then, she used orlon.
>
> Maybe that was it. But isn't orlon an acrylic?
>
> >The fiber has the weight and 'feel' of wool but is a synthetic yarn.
>
> >it washes well and keeps its shape over time.  (I still have and wear
mine
> >as a tabard over silk pants and shirt.
> >Kathleen
> >Wow, 34 years!!!
>
>
> Brenda, onetime-owner of Mom-crocheted purple and yellow skirt-and-vest
sets
> webwarren@earthlink.net
>
>
> _______________________________________________
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>

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	<003801c3edcd$600a4430$0500a8c0@MOM>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 3, Issue 89
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Red Hart was the brand that my mother used...because it was the best price
for a wool substitute.
Kathleen
----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, February 07, 2004 5:54 PM
Subject: Re: [h-cost] Re: h-costume Digest, Vol 3, Issue 89


> Brenda,
>
> The pattern was free from Coats & Clark at Ben Franklins.  The weave is
very
> loose, and looks like its using double trebles.  There are no shells.
Since
> Coats & Clark put out the pattern and they product Red Heart yarn, maybe
it
> would be best to use.
>
> Penny E. 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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>

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Date: Sun, 8 Feb 2004 10:20:34 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
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On Sun, 8 Feb 2004, Stevie Gamble wrote:

> I agree; I didn't express myself clearly. My thought was that if this
> was an aide-memoire for representations of the coronation to feed the
> PR machine then there would be strong reasons to represent figures in
> what amounted to archaic dress. The Tudors were, after all, parvenus
> whose origins did not bear scrutiny; the more links with ancient
> majesty the better, from their perspective.

Good point, and I see what you mean now. In this case, though, the
significance is maybe lessened because the custom of using that particular
archaic costume for coronations was well-established before the Tudors, so
that could simply be a continuation of existing iconographic tradition (on
the part of the artists if not also on the part of those paying the
artists).

> Indeed. I think you should go, too:-) The only thing which troubles me
> about a dating 60 years earlier is that 'Holbeinesque' head covering
> on one of the ladies. 

That's what stopped me too, and I wouldn't push the date back that far
myself (I only meant to note that the handwriting style had been around a
long time already). But clearly there's a lot of room for variation --
forward as well as backward, if we buy the possibility that the drawings
don't have to represent contemporary dress!

--Robin


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From: "Lynn Close-Hainsworth" <lynn@close-hainsworth.fslife.co.uk>
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Subject: [h-cost] Re: Worsted again
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Penny, I shall try to answer as below:

> What are the different yarn plys for and their uses?
Originally and technically, a 'ply' is a single thread, one or several of
which can make up a yarn.  So originally a two-ply yarn had two single
threads plyed together, and four-ply yarn had four, etc.  However, these
have since been used as descriptions of thicknesses, mainly in the UK and
Australia.  So a British four-ply yarn is a bit thinner than double-knitting
yarn, and in Australia an eight-ply yarn will be very thick even if it only
has two or three single yarns twisted into it.

> Also what types of yarn are good for certain uses? Meaning, wool, cotton,
acrylic.  What is a good percentage of mix of fibers?
As far as I'm concerned, the only justification for use of non-natural
fibres is for machine-washability.  Wool yarn generally has bounce and
stretchiness, cotton is as a rule firmer, and doesn't bounce back when
stretched.  But you can really use what you want when you want to use it,
just do swatches first and see if you like the fabric you produce.  Does it
drape/stretch/rebound/feel like you want it to do?

> Are they certain yarns better to use for knitting and not crocheting and
vice versa?  I know the small cotton thread (a little thicker than
> kite-string) is good for lace, tablecloths, bedspreads, and doilies.
If you're crocheting, it's usually better to use a firmer, more tightly
twisted yarn.  Crocheting usually creates more twist running back down the
yarn than knitting.

> Lastly,  I am left-handed.  Are there any websites that will show the
crochet stitches for a left-handed person.  All I have found are for
> right-handed people.
Can't think of anything, I'm afraid.  I'd just recommend the old trick -
look at it in a mirror.  Or repeat the instructions out loud to yourself,
replacing left with right and vice versa.  But it's perfectly possible to
knit and crochet backwards and forwards with either hand, and practice does
help.  Have you actually tried doing it as shown - you can adjust the
movements so that although the right hand is holding the hook, your left
hand is manipulating the yarn and fabric arount it?

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 'Worsted' yarn
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Quoting Penny Ladnier <penny@costumegallery.com>:

As a spinner and knitter I will take a crack at this one but these are some 
pretty broad questions. 

> I have some more questions:
> 
> What are the different yarn plys for and their uses?

Yarn comes in a variety of sizes and there are a vareity of ways of looking at 
it.

Most often spinners will look at the size of the yarn based either on wpi
(wraps per inch) or yards per pound.

Wraps per inch is measured by wrapping the yarn evenly and covering the 
measuring device and counting the number of wraps to cover an linear inch. 
Yards per pound is usually figured using a McMoran balance where the balance 
is set up so you can use a short piece of yarn to figure out yardage per pound.

There are a variety of sizes of yarn: laceweight,fingering,sport,worsted,DK
(Doubleknit) and bulky.
lacewieght might be used to knit a lace shawl, like the orenburgs tht can go 
through a wedding ring, 
fingering is good for socks, babywear, lightweight items
sport- heavier socks, lightweight sweaters,
and so on up the scale. you probably wouln't make an outdoor type sweater or 
jacket from lace weight nor make a baby garment from a bulky.

The differentweights can be made by adding more plys or by spinning thicker 
plys. 

Weavers usually use a different measurements for their yarns and I think use 
singles more often than knitters and crocheters who need a balanced yarn so 
the item doesn't bias.

> 
> Also what types of yarn are good for certain uses? Meaning, wool, cotton,
> acrylic.  What is a good percentage of mix of fibers?


Different fibers have different qualities and you want to watch that with the 
item you are making, also taking into account the stitch you are using. Wools 
tend to be more elastic. But also has the ability to felt. 

Superwash wools don't felt and can be washed in the washer and dryer. It is 
often used to socks and childrens clothing. 
Cotton and linen yarns can "grow"- stretch out in use if not knitted or 
crocheted with a tight stitch. But they are much easier to clean than wool.
Acrylics are better today and can be used for a variety of purposes but really 
doesn't feel as nice as natural fibers.
Silk can be difficult to work with and expensive.

Blends can cross the lines
> 
> Are they certain yarns better to use for knitting and not crocheting and
> vice versa? 

Yarns are so different that you can have 2 cotton yarns or 2 wool yarns, 
etc... that are very different and  one may be appropriate for a given project 
while the other isn't.


 I know the small cotton thread (a little thicker than
> kite-string) is good for lace, tablecloths, bedspreads, and doilies.

And can be used to knitting lace probably on 000 or 0000 needles depending on 
the size of the thread.

Evne the same yarn can give very different looks and handle when knit on 
different size needles.
> 
> Lastly,  I am left-handed.  Are there any websites that will show the
> crochet stitches for a left-handed person.  All I have found are for
> right-handed people.

Let me ask my stepmother , I am a knitter while she crochets.
Wendy
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From h-costume-bounces@indra.com  Sun Feb  8 12:52:44 2004
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Living History Groups in UK and France
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There are very few sites over here with permanent re-enactment groups - 
the Saxon village at West Stow is the only one I know of that's earlier 
than Tudor.  Your best bet is probably to surf for groups' websites and 
then see where they are doing events - http://www.the-reenactor.co.uk/ 
is a good place to start, or Call to Arms (http://www.calltoarms.com ) - 
or look at castles and historic sites in the areas you are going to be 
and see what they are hosting.

Englsh Heritage are doing far less re-enactment these days and more 
interpretation through drama type things, but there are many private 
sites that still do battle and living history events.

Jean


Dawn Wood <dawn@agesofelegance.co.uk> wrote
>Regia Anglorium are the main dark ages group over here in teh uk they have a
>website which should list all their events.
>The Roman groups are the Ermine Street Guard and Legion Augusta again
>details on eh web as far as I know
>English Heritage special events dept run many events over the year of
>various periods at historic houses so check them out as well
>
>Dawn
>Ages Of Elegance makers of historical clothing, uniforms and bridalwear
>http://www.agesofelegance.co.uk 0113 277 6716
>----- Original Message -----
>From: "Althea Turner" <althea@alfalfapress.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Friday, February 06, 2004 6:47 PM
>Subject: [h-cost] Living History Groups in UK and France
>
>
>> Hey all,
>>
>> I am traveling to Europe this summer to study merovingian textiles
>> (France June 15-July 5, UK July 5- July 19) and am interested in
>> learning the locations of any really good living history groups.   I
>> know Jorvik, and I think there is one in York, but I'm not sure.  Does
>> anyone know some good places to visit?  I'm interested in time period
>> 400-800 AD, and late Roman provincial.
>>
>> I'm also interested in finding a traveling partner and/or inexpensive
>> places to stay in Paris and London, as well as a few small towns (Sens,
>> Chelles, Lyon, Dordogne region, Loire region, and areas north of
>> London).  I'm an easy traveling partner, honest.  :D
>>
>> Thanks!
>>
>> Althea Turner
>> *** althea@alfalfapress.com
>> *** http://www.alfalfapress.com
>>
>>
>
>
>_______________________________________________
>h-costume mailing list
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-- 
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From h-costume-bounces@indra.com  Sun Feb  8 12:53:39 2004
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Oriental surcoat
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Sounds deeply unlikely to me.  Does Norris give any clues as to what he 
is describing as a bliaut?  Or to where he has seen evidence of this 
oriental surcoat?  If we knew what he was looking at, we might be able 
to give another interpretation.

Jean


Susan <scourney@nwlink.com> wrote
>Hi,
>
>I was doing some reading and ran across a 11th/12th cent garment called a
>Oriental (or persian) surcoat. Since this was in Norris, I was wondering if
>there was any other information about it.
>
>Was it really known to be a transparent silk coat worn over brightly colored
>bliauts?
>
>Susan in Bellevue
>Rollcall:
>known in the SCA as Susan Paraventur
>lives in the seattle area and am active in SCA, Beyond Reality, Cons, and
>sometimes Somewhere in Time.  I make a wide variety of costumes, from fairly
>accurate historical to fantasy outfits.  Historical ranges from Greek (I did
>start an egyptian, but didn't finish it) to the 30s (of last century)
>Historical ranges from I make it up cause I think it'll look cool to media
>reproductions (usually movie/tv, but I have done books).  I love glittery
>costumes and can often be seen at cons in really really glittery dresses,
>the last one was Orange.  Teddy would have been happy.  I've been on this
>list pretty steadily for the past ten years.
>
>
>_______________________________________________
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-- 
Jean Waddie
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "H-Costume@Indra. Com" <h-costume@indra.com>,
   <GermanRenCostume@yahoogroups.com>, <thefrazzledfrau@yahoogroups.com>
Date: Thu, 5 Feb 2004 09:20:07 -0700
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Subject: [h-cost] Those Rats at the fashion fabric club!
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There are some REALLY nice fabrics here.  If you have never played with the
silk/linen blends you are missing a treat!  
Sg (who can resist if you can..:))

 

-----Original Message-----
From: Fashion Fabrics Club [mailto:customerservice@fashionfabricsclub.com] 
Sent: Thursday, February 05, 2004 9:09 AM
To: SARAGRACE@EARTHLINK.NET
Subject: Italian Linen & Corduroy, New Fashion Fabrics

 

*	European Linen 
*	Italian Stretch Corduroy 
*	New Fashion Fabrics 
*	Use the SEARCH 


Dear Sewing Enthusiast,

As the new season approaches, linen becomes ever more popular. We just added
more and now have 100% linen from EUROPE, 97% Linen/3% Lycra from ITALY, and
a hundred more linen and linen blends.
http://www.fashionfabricsclub.com/home/catalog_items.cfm?TypID=4
<http://www.fashionfabricsclub.com/home/catalog_items.cfm?TypID=4&Viewby=Typ
es> &Viewby=Types

Don't miss our fantastic buy of corduroy imported from ITALY. These seven
designer colors are from the workrooms of ANN TAYLOR. They are 21 wale and
extra soft and sumptuous. Priced at $7.00 a yard, a truly meaningful value.
http://www.fashionfabricsclub.com/home/catalog_items.cfm?TypID=64
<http://www.fashionfabricsclub.com/home/catalog_items.cfm?TypID=64&ViewBy=Ty
pes> &ViewBy=Types

Choose from a great new selection for the spring season. Great cotton
prints, pique, linen, & silk.
http://www.fashionfabricsclub.com/home/catalog_items.cfm?CatID=178

With over 2,000 fabrics from which to choose, we know our website can be a
little overwhelming. Simplify your shopping and use our search box. Towards
the top of every page on the side, simply type in what your looking for and
click on search. For example, if you want to find "green silk", type it in
and you'll see all fabrics that have green silk in its description. Want
"florals", type it in and you'll see all of our floral fabrics. It should
help speed your experience.
http://www.fashionfabricsclub.com/index.cfm

Sincerely,
Camille Samson
Vice President

Fashion Fabrics Club manually maintains this e-mail list and we carefully
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need to contact us, our address is 10490 Baur Blvd., St. Louis, MO 63132 and
our phone number is 314-993-4919. Thank you. 

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Date: Sun, 8 Feb 2004 07:59:10 -0700
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Subject: [h-cost] Historical Accuracy-Yipes!  Was: Digest, Vol 3,
	Issue 89-Acrylic Yarn
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Wow, it is SO weird to see someone talk about historical accuracy in the
1970's.  Okay, now that I have dated myself...I will go back to lurking.

Sg

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


If you're looking for historical accuracy... acrylic is all my mom and most 
of her friends ever used at the time, and of course all I used (either 
Mom's leftovers or what I could afford from my allowance). If you're doing 
a granny-square vest or a filet-type vest, the softness is built in by the 
openness (shell stitch on the granny squares, the open squares of the 
"filet"). In the early '70's, when the vests were still hip length, we'd 
also have matching skirts -- either crocheted in a solid stitch (single- or 
double-crochet the whole length and width), or lined in a matching 
(acetate) lining, or solid-stitched-AND-lined.



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To: Historical Costume <h-costume@indra.com>
From: Mari Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] AngloSaxon burial newly found
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Thank you Carolyn!  What an amazing site.   I wish more archeological sites 
would post such information.  Hooray for the MOL.   \
Bridgette


>http://www.museumoflondon.org.uk/MOLsite/exhibits/prittlewell/index.htm
>
>You can click on 'objects' to see more.

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Subject: [h-cost] Historic Clothing Workshops
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Please forgive the cross-posting!  The Sewing Academy session for Wichita, 
Kansas is now open for registration.  The workshops focus on historic 
clothing for the mid-19th century. You’ll find a printable registration form 
as well as on-line registration and details on all the classes in the 
Academy section at:

http://www.thesewingacademy.org

Regards,
Elizabeth Clark

www.thesewingacademy.org

_________________________________________________________________
Get some great ideas here for your sweetheart on Valentine's Day - and 
beyond. http://special.msn.com/network/celebrateromance.armx

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Subject: [h-cost] OT food question
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It might seem really weird to be asking this question on a costuming 
list, but some of the folk on this list are the only 18th and 19th c. 
reenactors I know, so I hope you'll pardon the bandwidth usage!
A friend of mine is trying to find information on what sorts of 
nibbles/appetizers and drinks would have been served at early 19th c. 
gatherings (balls, receptions, etc).  If anyone has any info for me to 
pass on, I'd love to hear from you!
Thanks for your patience,
Sue

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] left-handed stitching of buttonholes
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Also, winding the thread onto the bobbin might have introduced extra 
twist to the thread...I know how careful you have to be, when you wind 
thread onto bobbins for lacemaking.
I'm lefthanded, and have threads twisting up on me all the time when I 
do handsewing or embroidery--I just let the thread dangle and untwist 
itself.  A light coating of beeswax (on the thread) also seems to help 
when usable (i.e., for general-purpose sewing, but not embroidery)
--sue's two pence worth

kat@grendal.rain.com wrote:


> The twist is the same, but the processing of the fibres makes a big 
> difference.
> 
> This is especially important in embroidery flosses, but I've found 
> the same to be true with regular threads. (I notice that when I use 
> thread off a bobbin it tends to knot up more easily than when I use 
> it off the spool. But that's because the thread is essentially 
> "turned around" on a bobbin.)


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I would advise anyone who really wants to know about this garment to 
join
<12thcenturygarb@yahoogroups.com>, where this garment (and bliauts, 
etc.) are extensively discussed.  There's a lot of controversy, and 
loads of theories.

Grace/Jessamyn
who thinks every copy of Norris should be thrown into the sea....

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I have no idea of the veracity of these recipes but they look very 
attractive:

http://www.erasofelegance.com/regencyrecipes.html

This site also has recipes for other historical periods, if people are 
interested:

http://www.erasofelegance.com/recipemain.html

So, now _I_ have a question:  is gazpacho really something Colonial/18c 
folks would have eaten?

Thanks, and good luck, Sue,

Theresa Eacker

Sue Clemenger wrote:
> It might seem really weird to be asking this question on a costuming 
> list, but some of the folk on this list are the only 18th and 19th c. 
> reenactors I know, so I hope you'll pardon the bandwidth usage!
> A friend of mine is trying to find information on what sorts of 
> nibbles/appetizers and drinks would have been served at early 19th c. 
> gatherings (balls, receptions, etc).  If anyone has any info for me to 
> pass on, I'd love to hear from you!
> Thanks for your patience,
> Sue
> 
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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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For drinks fruit punches and wines
for nibbles devilled chicken, sallets, petit patties ( a cross between vol
au vents and proper mince pies), syllabub, sorbets, icecreams and jellies
(all new and very fashionable), macaroni pudding, rice moulds
Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716


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Because Penny asked, and others are probably interested:

www.cc22.org/

April 2 - 5, 2004 in Atlanta, GA (Palm Sunday weekend)

Sandy

"Those Who Fail To Learn History
Are Doomed to Repeat It;
Those Who Fail To Learn History Correctly --
Why They Are Simply Doomed.

Achemdro'hm
"The Illusion of Historical Fact"
  -- C.Y. 4971

Andromeda  


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Date: Sun, 08 Feb 2004 23:43:11 -0500
Subject: Re: [h-cost] Re: Roll Call
From: Marsha J Hamilton <mjh@pearlandplume.com>
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Hello,

My name is Marsha Hamilton, 52, widowed with a teenager daughter, a
librarian at the Ohio State University Libraries, never met a fiber or
textile craft I didn't start buying books about and getting supplies
for---and accumulating many half-finished projects along the way.
I've got closets of fabric and finished costumes, some not very good, some
I'm proud of.  I started making costumes and jewelry as a child and kept
going, although I've changed over the years and upped my standards.  (Thank
you to Bjarne and others for inspiring us all!)

I belong to The Cavalier Association, a small early 17th c. group here in
Columbus, OH. I look forward to retiring someday so I can finish projects in
quilting, spinning, dying, knitting, cross-stitch, embroidery, smocking,
bead crochet, metal-working, jewelry making, designing and sewing, and of
course, more costumes! I've sewn Tudor to Titanic over the years.  I think
the next project is going to be Regency from La Mode Bagatelle's pattern I
bought this year.  Another goal is a website, so I can post pictures of my
jewelry.  


I enjoy listening to everyone and have learned a lot from the list.

Marsha

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Date: Mon, 9 Feb 2004 09:21:47 -0500 (EST)
From: Katy Bishop <vintage@shore.net>
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Subject: [h-cost] wedding in Georgia
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I got a request from my website asking if I knew of anyone in Georgia
who makes vintage style wedding dresses or sells actual vintage gowns.
Any one here who matches that description?  Thanks.

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: [h-cost] This and that Bjarne and 70'2
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70's  vest.

..But that funky 70's vest cries out for acrylic.  Acrylic must be period for the 70's.  I know I made and wore one when it was in style the first time. and it absolutely wasn't real cotton or wool.  It was probably  Red Heart too. The cheapest you could find.

Bjarne

    all your things are wonderful and an inspiration to us all.  I like to think of you in the dark of winter, making such beautiful things.  It's like looking at a star in the night sky, or the first crocus or snowdrop coming through the snow.  It makes a warm place in my heart that helps me keep on with whatever I'm doing.

Mia in Charlotte, NC
who gets cabin fever when she iced in for a day or two every ice storm, yes, even this far south.
and there is a nice little exhibit in the Charlotte Mint museum of mid-19 cent womens and childrens clothes if anyone is interested,



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Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
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Robin Netherton wrote:

>It might simply be saying "Here are some ways ermine spots have been shown
>in various drawings." It could be an artist's notes of designs he'd seen
>elsewhere and wanted to keep a record of as reference. I'd know more if I
>could see the paper itself. I'd particularly like to see the labels on the
>figures in more detail; I can make out only the last. (It's not your
>glasses -- the scan is not detailed enough in enlargement.)
>
>  
>
>Perhaps they're two examples taken from the same source, such as the roll
>of arms I mentioned earlier -- which includes many repeated figures that
>are identical except for the names or heraldry. In these, the number,
>type, or distribution of ermine spots may be different in some crucial
>way, which might be the relevant point here.
>
Could this be a heraldic key to what amount of ermine was allowed to be 
worn by the different ranks at a ceremonial occasion (or in their 
artistic representations)? At the top of the left hand page, I pick out 
the words prince (or princess) . The bottom square in the left column 
looks like "The duches gown 5 something something" . On the bottom right 
column is " The marqu(is) ?? ..." and the spots get less dense. This 
also is true on the right hand page as well. The generic lady only 
having a single row of spots on her cuffs and the  figure to the left 
having a double row.

Richenda




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Subject: Re: [h-cost] wedding in Georgia
Date: Mon, 9 Feb 2004 14:37:41 -0500
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I am not in Ga., but I do have some nice vintage wedding gowns for sale.
Kathleen
----- Original Message ----- 
From: "Katy Bishop" <vintage@shore.net>
To: "historic costume" <h-costume@indra.com>
Sent: Monday, February 09, 2004 9:21 AM
Subject: [h-cost] wedding in Georgia


> 
> I got a request from my website asking if I knew of anyone in Georgia
> who makes vintage style wedding dresses or sells actual vintage gowns.
> Any one here who matches that description?  Thanks.
> 
> 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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> 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Dear Mia.
This was a very kind thing to say about me. 
Thanks Mia. ;-)



Bjarne

    all your things are wonderful and an inspiration to us all.  I like to think of you in the dark of winter, making such beautiful things.  It's like looking at a star in the night sky, or the first crocus or snowdrop coming through the snow.  It makes a warm place in my heart that helps me keep on with whatever I'm doing.

Mia in Charlotte, NC






Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Dress, but not Costume.  Modern, but Historic in their Inspiration.....

Kathy 


>>> New York Times
>>> DO REAL MEN WEAR SKIRTS? TRY DISPUTING A 340-POUNDER
>>> By ALAN FEUER
>>> Published: February 8, 2004
>>> 
>>> Consider the plight of the man who wears a skirt.
>>> 
>>> Schoolchildren snicker as he passes. Construction workers give him
grief.
>>> Perfect strangers assume the right to criticize his wardrobe. He
might be
>>> fired. He might be beaten up. His wife might leave him for a man in
slacks.
>>> 
>>> Yesterday, in what future generations may look back on as the birth
of the
>>> Male Unbifurcated Garment movement, some 100 men in skirts marched
from the
>>> Guggenheim Museum to the Metropolitan Museum of Art to proclaim
their rights
>>> to women's clothing.
>>> 
>>> "We're not transvestites, homosexuals or cross-dressers," said one
marcher,
>>> David Johnson. "We don't want you to call us Jean or Sally."
>>> 
>>> "We're men," said Mr. Johnson, a retired global studies teacher
from
>>> Poughkeepsie. "Men who want the right to wear a skirt."
>>> 
>>> If the cause of men in skirts has yet to take its place beside the
gay
>>> rights or women's movements, one could hardly fault the marchers
who
>>> assembled yesterday to make their case on a nippy February morning.
They
>>> came from small towns and large cities all across this country.
They came in
>>> minis, tutus, kilts and, in one case, a fluorescent orange number
with
>>> matching orange shoes and orange vest.
>>> 
>>> Chris Taylor, 27, came from Levittown, on Long Island, in a
full-length
>>> crimson dress. In the natural world, he said, the clothes horse of
the
>>> species is invariably the male.
>>> 
>>> "The male bird is always the pretty one, not the female," said Mr.
Taylor,
>>> who is difficult to disagree with at 6'3" and 340 pounds. "Why
can't the
>>> male human being dress with style and color?"
>>> 
>>> Before the march began, there was much talk of the movement's
history. Men,
>>> it was said, have been wearing skirts much longer than women. There
were
>>> glowing mentions of the Highlanders of Scotland, for example. It
was noted
>>> with pride that European nobles of the 16th century wore skirtlike
outfits
>>> accompanied by heels.
>>> 
>>> It was the French Revolution that turned the tide, said Ingemar
Johnsson,
>>> 39, who flew from Sweden to attend the march. The French peasant,
he said,
>>> wore pantaloons. As the monarchy was overthrown, pants became the
fashion.
>>> The modern men in skirts movement can be traced to another Swede,
he said, a
>>> man named Roger Lewau. In the early 1990s', Mr. Lewau built a Web
site, now
>>> defunct, known, he said, as the Skirts Lover Nest.
>>> 
>>> "But that was long before I joined the movement," Mr. Johnsson
said.
>>> 
>>> These days, the movement finds its guiding spirits in Tom Manuel,
48, a
>>> computer consultant from Virginia, and Larrie James, who is 55 and
from
>>> Wisconsin.
>>> 
>>> As he rallied his troops yesterday, Mr. Manuel explained that the
movement
>>> had recently experienced a schism between the freestylers, who
believe that
>>> all skirts should be worn, and the bravehearts, who tend to dress
>>> exclusively in kilts.
>>> 
>>> "There was almost a war, if you will, on the Internet," he said.
>>> 
>>> The term "unbifurcated garment" was created to address this rift.
Kilts and
>>> skirts are both unbifurcated garments. Mr. Manuel is hopeful that
with this
>>> new inclusive term, the tension will be finally laid to rest.
>>> 
>>> At a march of men in skirts, it is only natural that conversation
would turn
>>> toward clothing. The following is fairly typical:
>>> 
>>>> MARCHER 1: Who does that skirt?
>>>> 
>>>> MARCHER 2: Bear Kilt. You know them?
>>>> 
>>>> MARCHER 1: Yeah, but their tailoring doesn't work for me.
>>>> 
>>>> MARCHER 2: Really? They always fit me fine.
>>> 
>>> You would think that a hundred men in skirts with a bagpipe band
marching on
>>> the streets at 10 a.m. would attract some real attention. But
reaction was
>>> fairly tame. A couple of doormen came to watch, and the morning
poodle
>>> walkers seemed a bit confused. The officers on escort duty all had
smiles,
>>> but there was not a single a heckler.
>>> 
>>> In a matter of minutes, the marchers arrived at the Met where they
planned
>>> to visit an exhibition called "Bravehearts: Men in Skirts." They
were
>>> gathered in the plaza near the fountains when a double-decker
tourist bus
>>> pulled up.
>>> 
>>> The sightseers gazed in awe at the crowd of men in unbifurcated
garments.
>>> Someone in the crowd called up to ask the tourists what they
thought.
>>> 
>>> "What I think?" said one young man with a clearly foreign accent.
"I think I
>>> love New York."

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Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
Date: Mon, 9 Feb 2004 20:37:35 -0000
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Richenda wrote on Monday, February 09, 2004 5:10 PM
Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?


> Could this be a heraldic key to what amount of ermine was allowed to
be
> worn by the different ranks at a ceremonial occasion (or in their
> artistic representations)? At the top of the left hand page, I pick
out
> the words prince (or princess) . The bottom square in the left
column
> looks like "The duches gown 5 something something" . On the bottom
right
> column is " The marqu(is) ?? ..." and the spots get less dense. This
> also is true on the right hand page as well. The generic lady only
> having a single row of spots on her cuffs and the  figure to the
left
> having a double row.

Alas, I fear not in relation to real garments. This was my first hope;
an aide memoire for the fur trade but I can find no reference anywhere
to this possibility. It is, of course, *physically* possible, since
ermine 'tails' were not actually parts of the ermine at all; usually
small pieces of bougie were used, and they could be placed anywhere
you liked. 'Powdering' ermine was one of the most backbreakingly
boring jobs in an industry noted for them, and anyone doing it would
have been thrilled at the possibility of doing as few as possible...
The rules for rank in representations are, I think, much more likely
candidates, and it would fit with these archaic dress styles. But I
will go and have a look at Burkes Peerage and see if there are any
rules for ermine wear in peers and peeresses attending State
functions. The English monarchy is rather good at inventing ancient
traditions, as a quick look at 19th century coronations will confirm;
George IV went rather further and did the whole lot in pseudo
elizabethan/renaissance. Aileen Ribeiro suggests that he wore the
genuinely traditional 'supertunica of cloth of gold and a matching
dalmatic lined with ermine' only for the actual coronation service
itself.
It is, I hope, impossible that Lacma has got its dating wrong by 300
years...
best wishes
Stevie

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Subject: Re: [h-cost] Drawings of Tudor Nobility Costume manuscript?
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----- Original Message ----- 
> Could this be a heraldic key to what amount of ermine was allowed to be
> worn by the different ranks at a ceremonial occasion (or in their
> artistic representations)?

I think you've hit the nail on the head!

I've been perplexed by this particular image for a while, too. On the left
hand page, the only real difference I could see was the density of the
ermine spots; what would be the point if not to assign certain spot
densities to certain things? I mean, there's no 'practice factor' there;
that would look different and likely not be preserved anyway.

The gowns get less ceremonial as the rank decreases, and more in line with
late 15th C fashion; with the 'Lady' the only real ceremonial indicator I
see is the red/ermine combination (and perhaps the lack of train, which one
would expect to see at a fancy occasion). In other words, the sketches not
only show how much ermine to use, but also where, and how close to
contemporary fashion standards the gowns could be made. (You may have to be
shown wearing that fusty old surcoat, but it's ok to put a fashionable
square neckline on it. No, not you, you're a duchess so you have to wear a
down-curved neckline.)

It still seems a little earlier than 1511 to me, but maybe not by more than
a decade; the dress of the Lady with folded back cuffs and
square-but-arching-up neckline wouldn't be out of place c1500. However, I
don't know much about headwear, and I'm wishing I did now, because that's
the main thing that's making me think it's before 1500 rather than after.

Anyway, I hope this is the answer, because it settles all the puzzlement I
had and now I no longer have to scratch my head. =}

E


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From h-costume-bounces@indra.com  Mon Feb  9 16:24:34 2004
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Subject: [h-cost] Bayoux Tapestry Headgear
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 Hello all! I've been using Robin's article on pendant sleeves (I'm blanking on the title of the article at the moment -- so sorry! -- It was re-published in _Tournaments Illuminated_ in the last couple years) to make a Bayoux Tapestry-style woman's gown. Does anyone have any theories on the headgear for the standing woman (the one running away with a boy in tow)? At first I thought it might be a wimple, but it doesn't really drape like one... Is it a hood? 
	Thanks!
		-sunny

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From h-costume-bounces@indra.com  Mon Feb  9 16:44:27 2004
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Date: Mon, 09 Feb 2004 12:57:23 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] wedding in Georgia
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>I got a request from my website asking if I knew of anyone in Georgia
>who makes vintage style wedding dresses or sells actual vintage gowns.
>Any one here who matches that description?  Thanks.

Is Virginia close enough?  A good friend of mine, who will (eventually) be 
working on a historical dress for me, lives in VA and has a pro costuming 
business.  E-mail me privately for the contact info if you need it.


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

              //// \\\
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             (((  <> ))))
                )   ((((((
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In a message dated 2/9/2004 3:32:31 PM Eastern Standard Time, khoover@wvu.edu 
writes:

> Chris Taylor, 27, came from Levittown, on Long Island, in a
> full-length
> >>>crimson dress. In the natural world, he said, the clothes horse of
> the
> >>>species is invariably the male.
> 

This is true, but a 3 piece suit is way more of a deal than the average 
crimson dress. Women's clothes are easy compared to men's!
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Subject: Re: [h-cost] Bayoux Tapestry Headgear
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On Mon, 9 Feb 2004, Sunny Buchler wrote:

>  Hello all! I've been using Robin's article on pendant sleeves (I'm
> blanking on the title of the article at the moment -- so sorry! -- It
> was re-published in _Tournaments Illuminated_ in the last couple
> years) to make a Bayoux Tapestry-style woman's gown. Does anyone have
> any theories on the headgear for the standing woman (the one running
> away with a boy in tow)? At first I thought it might be a wimple, but
> it doesn't really drape like one... Is it a hood?

Best I've been able to do is take a length of linen and play around with
draping and wrapping. I think that's what I did for my model in the
picture with that article. But the Bayeux image is ambiguous enough to be
a hood or cowl, at least to my eye.

--Robin

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Stevie Gamble wrote:

> It is, I hope, impossible that Lacma has got its dating wrong by 300
> years...

This is exactly what I was hoping. The images look too much like a 
redrawing or recreation of Tudor-like garments. The headdresses are all 
mixed up (hair flowing from a gable headdress? and one with a rounded 
top at that? henin-type veils on a gable--not really like the Holbein 
sketch...) and the ermine is placed in ways that is really strange. Even 
the fantasy designs for Mary's  (Henry's sister) entry into Paris were 
not this weird. And the way the figures are posed and the faces 
sketched--just not quite "right." Very strange. Unless this is an 
original that was "improved" somewhere along the way.

- Hope

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Subject: [h-cost] Wizard of Oz
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Greetings,

If any one has any experience and/or ideas for Wizard of Oz (the main costumes), could you please contact me off list.  It is for little people, i.e. gradeschool play.  

Sidne
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Don't you dare chop that thing up to make a hat.

It's too big, use it for a full suit instead,

-C.
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On Monday 09 February 2004 03:31 pm, Kathy Hoover wrote:
> Dress, but not Costume.  Modern, but Historic in their Inspiration.....
>
> Kathy
>
> >>> New York Times
> >>> DO REAL MEN WEAR SKIRTS? TRY DISPUTING A 340-POUNDER
> >>> By ALAN FEUER
> >>> Published: February 8, 2004
> >>>
> >>> Consider the plight of the man who wears a skirt.


On the other hand, there is some momentum about changing this way of thinking.

Utilikilts is making a business of selling kilts--"skirts", if you will, to 
ordinary guys for everyday wear.  

http://www.utilikilts.com/

Most of the ones I've seen actually worn were basic black.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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In a message dated 2/9/2004 8:06:36 PM Eastern Standard Time, 
skskaw@comcast.net writes:
If any one has any experience and/or ideas for Wizard of Oz (the main 
costumes), could you please contact me off list.  It is for little people, i.e. 
gradeschool play.  
One of the commercial pattern companies has a pattern--you can check their 
websites.
Ann Wass
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>Utilikilts is making a business of selling kilts--"skirts", if you will, to
>ordinary guys for everyday wear.
>
>http://www.utilikilts.com/
>
>Most of the ones I've seen actually worn were basic black.

These also come in cammo and a yellowish-beige.  I know several men, and 
one woman, who own these and wear them regularly here in Northern 
CA.  Utilikilts come with cargo pockets, and are otherwise built like work 
overalls.

Hey - if I can dress top to toe in men's clothes (t-shirt, jeans, and 
Nikes) then why can't men wear skirts?  Greek men wear skirts too, and in 
the Middle East caftans (=dresses) are normal menswear.


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

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I just happened to read Kat's and Albra's notes that they will be at
Estrella teaching.  I will also (Gollar and Puff and Slash again).  Anyone
else?  I'll wear a red H if you will!

 

Sg

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>>> kayta@frys.com 2/10/04 5:07:19 AM >>> wrote:

>Hey - if I can dress top to toe in men's clothes (t-shirt, jeans, and

>Nikes) then why can't men wear skirts?  Greek men wear skirts too, and
>in the Middle East caftans (=dresses) are normal menswear.

What about sarongs in Southeast Asia? Agreed, it does seem illogical
that women can wear masculine clothes but men can't wear skirts. I'd
dispute the assertion that you can't be a peacock in male attire,
though. As for the Swedish gentleman who says that trousers came in with
the French Revolution - well, yes, but they replaced knee-breeches, not
skirts!



Kate Bunting
Library, University of Derby
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> 
>  --- rasodergren@aol.com wrote: > To: > From:
> rasodergren@aol.com
> > Date: Mon, 09 Feb 2004 10:48:08 -0500
> > Subject: Re:  Fwd: OT food question
> > 
> > I would reccomend a book by Lydia Marie Child (the
> > 19th century Martha Stewart, even with the
> > scandals...though hers pertained to being an
> > abolitionist, and were popular in some parts of
> the
> > country, not others).  It's title is The American
> > Frugal Housewife.  It was first published in 1826,
> > and was published in several editions until 1860. 
> > Dover has a nice paperback version of it out for a
> > relatively low cost ($7.95).  It not only contains
> > information on food (with recipes), but also on
> > medicine and health care, beauty tips, and
> household
> > information (think Good Housekeeping, in the 19th
> > century).
> > 
> > Rebecca Sodergren 
> > Saint Louis, Missouri
> > 
> >  
> 
> =====
> Seńora Catalina
> Aurum peccamenes multifariam texit
> 
> 
> 	
> 	
> 		
>
___________________________________________________________
> BT Yahoo! Broadband - Free modem offer, sign up
> online today and save Ł80 http://btyahoo.yahoo.co.uk
>  

=====
Seńora Catalina
Aurum peccamenes multifariam texit


	
	
		
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Hi,
Today i made a lot. Almost finished the cloak and the muff wich i am going to use in cold Sweden next months.
http://www.my-drewscostumes.dk/cloakandmuff.htm
Made of black wool and fake persian goatskin.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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In a message dated 2/10/2004 8:42:15 AM Eastern Standard Time, 
K.M.Bunting@derby.ac.uk writes:

> then why can't men wear skirts?  Greek men wear skirts too, and
> >in the Middle East caftans (=dresses) are normal menswear.
> 

I saw the exhibit at the MET. Not geat. They did not display the backs of one 
of the 4 kilts in the show. I think that's a little weird since the back is 
the thing. 
Still there were some Middle Eastern garments that looked great and I'd wear 
them. One from Morocco that is like a caftan but more loose and with a hood. 
It could be either long or short and was traditionally made from yummy light 
cotton dyed in some incredible fashion and embroidered around the CF opening. 
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] cloak and muff
To: Historical Costume <h-costume@indra.com>
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Bjarne, it looks wonderful!
thanks for sharing---I always enjoy looking at your projects!
Albra

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
Hi,
Today i made a lot. Almost finished the cloak and the muff wich i am going to use in cold Sweden next months.
http://www.my-drewscostumes.dk/cloakandmuff.htm
Made of black wool and fake persian goatskin.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: Re: [h-cost] cloak and muff
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Bjarne, that is one classy ensemble.  It should be smashing with you
beautiful suit.
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Tuesday, February 10, 2004 10:19 AM
Subject: [h-cost] cloak and muff


Hi,
Today i made a lot. Almost finished the cloak and the muff wich i am going
to use in cold Sweden next months.
http://www.my-drewscostumes.dk/cloakandmuff.htm
Made of black wool and fake persian goatskin.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Tuesday, February 10, 2004 10:19 AM
Subject: [h-cost] cloak and muff


Hi,
Today i made a lot. Almost finished the cloak and the muff wich i am going
to use in cold Sweden next months.
http://www.my-drewscostumes.dk/cloakandmuff.htm
Made of black wool and fake persian goatskin.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: [h-cost] Silk dupioni satin?
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Does anyone know what silk "dupioni satin" is?  I've seen it listed on
Fabric.com
(http://store.yahoo.com/phoenixtextiles/fabric-apparel---fashion-fabrics-sil
ks-silk-satins.html) and emailed them to ask, but I haven't received a
reply.

As far as I'm concerned, satin is a very smooth weave and dupioni a very
slubby weave -- I don't understand how the two can be in the same fabric!
Any guesses?

- Kendra

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Subject: Re: [h-cost] OT: Skirting the issue
From: Lynn Downward <LDownward@chori.org>
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I live in the S.F. Bay area so my mileage varies from the usual. Having said
that, I often see men in kilts/utilikilts out on the street in S.F. and
Berkeley. Usually they have a certain uniform with it - a white tee-shirt
advertising a band, Doc Martin-type boots, tattoos and piercings. They are
often stocky and muscled. No one would question their masculinity. They are
also usually in the 20-30 year old age group. I don't know if it's because
I've seen faire Scots/Celts for the past 30 years or what, but I don't see
them as a novelty anymore. At least HERE.

LynnD


On 2/9/04 5:44 PM, "Catherine Olanich Raymond" <cathy@thyrsus.com> wrote:

> On Monday 09 February 2004 03:31 pm, Kathy Hoover wrote:
>> Dress, but not Costume.  Modern, but Historic in their Inspiration.....
>> 
>> Kathy
>> 
>>>>> New York Times
>>>>> DO REAL MEN WEAR SKIRTS? TRY DISPUTING A 340-POUNDER
>>>>> By ALAN FEUER
>>>>> Published: February 8, 2004
>>>>> 
>>>>> Consider the plight of the man who wears a skirt.
> 
> 
> On the other hand, there is some momentum about changing this way of thinking.
> 
> Utilikilts is making a business of selling kilts--"skirts", if you will, to
> ordinary guys for everyday wear.
> 
> http://www.utilikilts.com/
> 
> Most of the ones I've seen actually worn were basic black.

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Subject: Re: [h-cost] Silk dupioni satin?
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In a message dated 2/10/2004 11:40:27 AM Eastern Standard Time, 
kendra@tweedlebop.com writes:
As far as I'm concerned, satin is a very smooth weave and dupioni a very
slubby weave -- I don't understand how the two can be in the same fabric!
Any guesses?
It could be double-faced--slubbed on one side and satin on the other (similar 
to crepe-backed satin).  I haven't seen it in silk, but, forgive me, I have 
seen it in polyester.
Ann Wass
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Subject: [h-cost] Re: men in skirts
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I think those Utilikilts are great! When I first heard of them, I was going
to buy one for my husband -- until I saw the price. Worth it, I'm sure, but
out of our budgets.

I've often thought a great topic for a thesis would be the psychological
harm done to men by not allowing them to wear fancy clothes. After all, the
guy in the NYT article was right -- through most of history, and in most
countries, men have worn fancier, lovelier clothes than women. I think you
could argue that it's a basic male need. So recent Western culture must be
psychologically hard on men, forcing them into such drab garments.

People buy "psychological harm" for all kinds of ridiculous feminist
arguments. This idea sounds far more plausible to me!

Gail Finke

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Date: Tue, 10 Feb 2004 09:46:04 -0800 (PST)
From: Angela Kessler <ivyharpdotcom@yahoo.com>
Subject: Re: [h-cost] Silk dupioni satin?
To: Historical Costume <h-costume@indra.com>
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I'm sure someone will correct me if I'm wrong, but as
I understand it, dupioni is silk from when two
silkworms built their cocoons touching each other. 
The resulting thread is consequently slubby.  It is
usually woven in a plain "tabby" weave, but
technically the term refers to the fiber, not the
weave.

Satin is a weave where floating warp threads, not
caught up in every pass of weft threads, create a
smooth surface.  It can be made of a variety of fiber
types.

So, technically, you could weave satin with dupioni
thread, though why you would want to I don't know, as
it does seem the slubbiness of the thread would cancel
the smoothness of the weave.

Also, and perhaps most importantly, retailers don't
always understand or care about the technical
definitions when they label their products, so the
best way to find out what this retailer had in mind is
to get a direct answer from them, or a swatch (does
fabric.com do swatches?).  My screen resolution is not
high enough for me to see what's going on.  Good
price, though.

-Angela


--- Kendra Van Cleave <kendra@tweedlebop.com> wrote:
> Does anyone know what silk "dupioni satin" is?  I've
> seen it listed on
> Fabric.com
>
(http://store.yahoo.com/phoenixtextiles/fabric-apparel---fashion-fabrics-sil
> ks-silk-satins.html) and emailed them to ask, but I
> haven't received a
> reply.
> 
> As far as I'm concerned, satin is a very smooth
> weave and dupioni a very
> slubby weave -- I don't understand how the two can
> be in the same fabric!
> Any guesses?
> 
> - Kendra
> 
> _______________________________________________
> 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] Silk dupioni satin?
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In a message dated 2/10/2004 12:16:49 PM Eastern Standard Time, 
AnnBWass@aol.com writes:

> I haven't seen it in silk, but, forgive me, I have 
> seen it in polyester.
> 

Many a drapery was made of it [in polyester] in the 70's. When I was in 
collage a teacher [of whom I have/had zero respect] made this sky blue and white 
1900 gown [with matching hat...same fabric] out of the stuff. It was worn by a 
dark skinned singer. God was it awful! Wrong color in the wrong fabric.

In silk it might be interesting though.
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In a message dated 2/10/2004 1:28:07 PM Eastern Standard Time, 
AlbertCat@aol.com writes:

> Many a drapery was made of it [in polyester] in the 70's. When I was in 
> collage a teacher 

That's college...not collage. Hey, I didn't major in English...whadaya want?

And I'm talking "Crepe back satin" not "Dupioni satin".
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Dear list, especially those of you in or near Portland, Oregon.

While searching for a new Russian restaurant Friday night we came across
RUTH'S RAGS on Sandy Blvd. 
The address is 10602 NE Sandy Blvd., Portland, OR  97220
Phone: 503-261-7177 or 503-261-7717

Ruth carries nothing but natural fabrics; organic cotton, hemp, wool flannel,
silk velvet (gorgeous deep purple and a blue/brown shot-like one, among
others), wool Guatemala wovens by the bolt, etc.!  

The prices are not cheap, but neither are they at the high end. I know that
folks are always looking for silk velvet ($25/yd) and wool flannel ($12/yd)

Ruth just left Jansens (famous swimsuit company) after a take-over and 
is living out her dream of being surrounded by and retailing beautiful fabrics
and notions.  Her husband is working on a website to reach a larger market. 

I have no connection, just delighted that someone has provided us fabriholics
with another source!

Enjoy, Shea






Shea Young ~ ~ ~ ~

"As you go the way of life, you will see a great chasm. JUMP! It is not as
wide as you think."  ~  Joesph Campbell



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> Also, and perhaps most importantly, retailers don't
> always understand or care about the technical
> definitions when they label their products, so the
> best way to find out what this retailer had in mind is
> to get a direct answer from them, or a swatch (does
> fabric.com do swatches?).

I agree on that. But usually fabric.com are pretty good about labelling and
etc., and they know that a lot of costumers and historical re-enactors buy
from them and care about those issues, so it is surprising to see a weird
thing like that.
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Date: Tue, 10 Feb 2004 12:34:00 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] OT: Skirting the issue
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Kate M Bunting writes, in a message sent 01:39 PM 2/10/04 +0000:


> >>> kayta@frys.com 2/10/04 5:07:19 AM >>> wrote:
>
> >Hey - if I can dress top to toe in men's clothes (t-shirt, jeans, and
>
> >Nikes) then why can't men wear skirts?  Greek men wear skirts too, and
> >in the Middle East caftans (=dresses) are normal menswear.
>
>What about sarongs in Southeast Asia?

And all over the Pacific islands.  Yes, them too.


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

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In a message dated 2/8/2004 7:47:49 PM Eastern Standard Time, 
theresa@misc.com writes:
http://www.erasofelegance.com/regencyrecipes.html
I have my doubts about the Manchester Chocolate Truffle.  As far as I can 
tell, chocolate was strictly a beverage until about mid-19th century, when people 
began baking with it.  But, as with many things concerning the early 19th 
century, I haven't been able to pinpoint it exactly.

Ann Wass
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On 2/10/04 12:34 PM, "Carolyn Kayta Barrows" <kayta@frys.com> wrote:

> Kate M Bunting writes, in a message sent 01:39 PM 2/10/04 +0000:
> 
> 
>>>>> kayta@frys.com 2/10/04 5:07:19 AM >>> wrote:
>> 
>>> Hey - if I can dress top to toe in men's clothes (t-shirt, jeans, and
>> 
>>> Nikes) then why can't men wear skirts?  Greek men wear skirts too, and
>>> in the Middle East caftans (=dresses) are normal menswear.
>> 
>> What about sarongs in Southeast Asia?
> 
> And all over the Pacific islands.  Yes, them too.
> 
> 
>       CarolynKayta Barrows

So right. There's a huge population of Samoans in San Francisco, and the men
wear their sarongs and traditional clothing, especially for formal
occasions. Who's going to tease a six foot plus man, 250 plus pounds because
he's wearing a skirt?

LynnD
Kayta, you may have seen the families during Dicken's Fair in the area near
the Cow Palace, where there's a church, a community center and several
stores for the Samoan community in San Francisco.

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From h-costume-bounces@indra.com  Tue Feb 10 16:31:02 2004
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Subject: Re: [h-cost] Silk dupioni satin?
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Hey Kendra,

I actually have several yards of this stuff from Fabric.com, and it's  
not duipioni.  It's definitely a satin, although probably not a very  
high-grade silk.  The black feels pretty papery, but the white was  
denser, like you'd expect from a silk satin.

My guess is that the folks at Fabric.com mislabeled it.  When I  
purchased it from them last year it was titled "Silk Satin".

Sarah
http://www.modehistorique.com


--- Kendra Van Cleave <kendra@tweedlebop.com> wrote:
> Does anyone know what silk "dupioni satin" is?  I've
> seen it listed on
> Fabric.com
>
(http://store.yahoo.com/phoenixtextiles/fabric-apparel---fashion- 
fabrics-sil
> ks-silk-satins.html) and emailed them to ask, but I
> haven't received a
> reply.
>
> As far as I'm concerned, satin is a very smooth
> weave and dupioni a very
> slubby weave -- I don't understand how the two can
> be in the same fabric!
> Any guesses?
>
> - Kendra

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I've been looking at silk velvet on the internet. Apparently most of it is 
18% silk / 82% rayon.

Is this standard?

Why not more silk?

Does the small silk content really make a difference?

Thank you,

Katie


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I've been looking at silk velvet on the internet. Apparently most of it is 
18% silk / 82% rayon.

Is this standard?

Why not more silk?

Does the small silk content really make a difference?

Thank you,

Katie

As i understand it, the silk is the buttom fabric and not the raised part. The raised part is made of rayon.
I dont know why they do it that way. But one thing is sure, if they made the raised part in silk, it would be very very expensive, think about all the silk they had to use in the weave.
There are some of the "silk" velvets that i have seen wich are very close to the real thing in looks, but to work with it, is another story.

Bjarne 




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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>
>As i understand it, the silk is the buttom fabric and not the raised part. 
>The raised part is made of rayon.
>I dont know why they do it that way. But one thing is sure, if they made 
>the raised part in silk, it would be very very expensive, think about all 
>the silk they had to use in the weave.
>There are some of the "silk" velvets that i have seen wich are very close 
>to the real thing in looks, but to work with it, is another story.
>
>Bjarne
>



This 
site:  http://www.mini-magic.com/cgi-bin/new-mini/catalog/multitest.htm 
carries 100% silk velvet for $30 a yard.

Cheers,
Heidi


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Subject: Re: [h-cost] silk velvet.
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Bjarne og Leif Drews wrote:
> As i understand it, the silk is the buttom fabric and not the raised part. The raised part is made of rayon.
> I dont know why they do it that way. 

Because the current fashion is for "burn out" velvets.  They can apply a 
chemical to the fabric like they'd apply an ink print, and it will 
dissolve the rayon, but not the silk, leaving a transparent silk ground 
with rayon pile patterns.

I have some all-silk velvet I inherited from my grandmother.  It's a 
robe/housecoat/something.  Wearing it, one feels so sensuous that it's 
hard to describe!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

You can't rely upon a madman.  -- Pres. Bush
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Subject: Re: [h-cost] silk velvet.
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From: Sarah <sarah@modehistorique.com>
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The question just struck me: Why would 100% silk velvet be 
prohibitively expensive like we all expect it to be?  I mean, why 
shouldn't it be any more expensive than silk satin, or taffeta, or any 
other 100% silk fabric commonly available?  Granted, there are some 
terribly expensive silks out there, but there's also quite an 
assortment of affordable silks in all types of weaves, so why not 100% 
silk velvet?

Of course, the one and only time I saw 100% silk velvet was at Britex 
several years ago and it was about $600 a yard, but if I can go to 
Britex and find $100 a yard shantung, I can also go to the fabric store 
down the street from me and find virtually the same stuff for under 
$30/yard.  Sometimes even in the range of $10/yard.

Is this just a conspiracy or is there actually a legitimate reason for 
the assumption that silk velvet would be off the charts expensive and 
therefore no one would ever dare sell it retail?

Inquiring minds want to know!

Sarah
http://www.modehistorique.com


On Tuesday, February 10, 2004, at 01:59  PM, Bjarne og Leif Drews wrote:

> I've been looking at silk velvet on the internet. Apparently most of 
> it is
> 18% silk / 82% rayon.
>
> Is this standard?
>
> Why not more silk?
>
> Does the small silk content really make a difference?
>
> Thank you,
>
> Katie
>
> As i understand it, the silk is the buttom fabric and not the raised 
> part. The raised part is made of rayon.
> I dont know why they do it that way. But one thing is sure, if they 
> made the raised part in silk, it would be very very expensive, think 
> about all the silk they had to use in the weave.
> There are some of the "silk" velvets that i have seen wich are very 
> close to the real thing in looks, but to work with it, is another 
> story.
>
> Bjarne
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: Re: [h-cost] silk velvet.
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In a message dated 2/10/2004 6:22:34 PM Eastern Standard Time, 
sarah@modehistorique.com writes:
Is this just a conspiracy or is there actually a legitimate reason for 
the assumption that silk velvet would be off the charts expensive and 
therefore no one would ever dare sell it retail?
I think it is because the weaving of true velvet is very specialized and not 
done much by anyone anymore.  True velvet is woven with the pile yarns going 
back and forth between two base fabrics and then cut in the middle, thus giving 
two velvet fabrics.
Ann Wass
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In a message dated 2/10/2004 6:02:27 PM Eastern Standard Time, 
mudsleidi@cox.net writes:
This 
site:  http://www.mini-magic.com/cgi-bin/new-mini/catalog/multitest.htm 
carries 100% silk velvet for $30 a yard.
Amazing!  Anyone have any experience with this?  My first reaction is, "If it 
sounds too good to be true, it probably is."
Ann Wass
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> This
> site:  http://www.mini-magic.com/cgi-bin/new-mini/catalog/multitest.htm
> carries 100% silk velvet for $30 a yard.
>

Has someone actually bought this and tested it? I'd be very interested, as
will others on many lists, to know about it if it is really 100% silk...
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I had an old-school feminist male teacher in high school (three to seven
years ago) who believed women should not wear skirts or dresses.  I went to
a school for girls, and our uniform options were a selection of
solid-colored kilts and corduroy pants that no one wore because they were
high-waisted, and tapered.  A few of my classmates were discussing the need
for better pants, and he interjected that we should not be allowed to wear
skirts at all.  I, who discovered a love of dresses and high heels early on
and took great satisfaction in wearing them, asked him why, and his reply
was that one could not be a serious scholar in a skirt.  "So just because I
am not afraid to be girly and have fun with clothes I can't be taken
seriously?" "No."
I think the concept of femininity rubbed him the wrong way in general and he
was comfortable with women as long as he could look on them as on men.  I do
not feel particularly trapped by the expectations of femininity.  I do not
think I am presenting myself merely as a sexual object.  Every once in a
while something reminds me of him and I fume for an hour or so.  I have
never seen the Legally Blond movies, but from what I have seen of previews
it seems that the main character's problem is ditziness rather than
girliness.  Sorry.  Reading John Steinbeck, who also seems unnecessarily
mystified by women, for my comp lit class brought on this small rant.  Has
anyone here had similar problems?
Alexia

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Subject: Re: [h-cost] Re: Men in skirts, and women!
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Ok I'll admit to playing the part of a dumb _______ (insert color hair I
have at the moment here) often enough to have protected any intelligence I
might have. Is it wrong of me? Debatable. The area I live in and my family
are not able to cope with in telligent females. Even my husband shies off
when I begin spouting history but he's getting better all during "Attila" he
kept asking me to compare fact with the movie. For the record I love girly
girl clothes and often dress kinderwhore. I milk it for all I'm worth.
Helpless to the last with iron inside the velvet glove.

B~
=============================
On Ebay http://snipurl.com/3csb
http://my.lulu.com/kristalori
Elizabethan Ladies Calendar
Rolled Florentine Cap Pattern
www.swapking.com/hats
=============================
----- Original Message ----- 
From: "Alexia S. Jacobs" <asj2001@columbia.edu>
To: <h-costume@indra.com>
Sent: Tuesday, February 10, 2004 6:40 PM
Subject: [h-cost] Re: Men in skirts, and women!


> I had an old-school feminist male teacher in high school (three to seven
> years ago) who believed women should not wear skirts or dresses.  I went
to
> a school for girls, and our uniform options were a selection of
> solid-colored kilts and corduroy pants that no one wore because they were
> high-waisted, and tapered.  A few of my classmates were discussing the
need
> for better pants, and he interjected that we should not be allowed to wear
> skirts at all.  I, who discovered a love of dresses and high heels early
on
> and took great satisfaction in wearing them, asked him why, and his reply
> was that one could not be a serious scholar in a skirt.  "So just because
I
> am not afraid to be girly and have fun with clothes I can't be taken
> seriously?" "No."
> I think the concept of femininity rubbed him the wrong way in general and
he
> was comfortable with women as long as he could look on them as on men.  I
do
> not feel particularly trapped by the expectations of femininity.  I do not
> think I am presenting myself merely as a sexual object.  Every once in a
> while something reminds me of him and I fume for an hour or so.  I have
> never seen the Legally Blond movies, but from what I have seen of previews
> it seems that the main character's problem is ditziness rather than
> girliness.  Sorry.  Reading John Steinbeck, who also seems unnecessarily
> mystified by women, for my comp lit class brought on this small rant.  Has
> anyone here had similar problems?
> Alexia
>
> _______________________________________________
> 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 Feb 10 19:31:26 2004
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] silk velvet.
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AnnBWass wrote

>I think it is because the weaving of true velvet is very specialized and not 
>done much by anyone anymore.  True velvet is woven with the pile yarns going 
>back and forth between two base fabrics and then cut in the middle, thus giving 
>two velvet fabrics.

But if this was the case, cotton velvet, rayon/silk etc etc would also be astronomical as it involves the same manufacturing process.  Not that I have the answer, just I'm puzzled too.

Lisa 
             
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Date: Tue, 10 Feb 2004 19:52:23 EST
Subject: Re: [h-cost] silk velvet.
To: h-costume@indra.com
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In a message dated 2/10/2004 6:02:27 PM Eastern Standard Time, 
mudsleidi@cox.net writes:

> http://www.mini-magic.com/cgi-bin/new-mini/catalog/multitest.htm 
> 

This high priced site has "Crepe Back Heavy Silk Satin"...like we were 
talking about in another thread [dupioni satins?]. Anyway, the site says "Often 
called Charmuese".

Really? The poly crepe back satin wasn't like charmuese...not even poly 
charmuese.
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Subject: Re: [h-cost] silk velvet.
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And I just now realized--a silk velvet would take, what, roughly double the 
silk yarns of a non-piled fabric?  True of other types of velvet, too, of 
course, but consider that not any old silk will do--it has to be high quality.  And 
if these yarns are pricier than other fibers to begin with?
Ann Wass
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At 07:12 PM 2/10/2004 -0500, you wrote:
><wantstobecorsetted1@hotmail.com>



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On Tuesday 10 February 2004 10:19 am, Bjarne og Leif Drews wrote:
> Hi,
> Today i made a lot. Almost finished the cloak and the muff wich i am going
> to use in cold Sweden next months.
> http://www.my-drewscostumes.dk/cloakandmuff.htm
> Made of black wool and fake persian goatskin.

You are to be commended, Bjarne.  Beautiful work, as always.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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References: <002001c3eff3$7d9eb3f0$ea44fea9@hopperflop2>
Subject: Re: [h-cost] Silk dupioni satin?
Date: Tue, 10 Feb 2004 22:04:04 -0500
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Is dupioni a weave or weight of silk? If we can have silk satin and cotton
sateen...
 My daughter's wedding dress was a swiss cotton shantung at $90 a yard.  We
found it on sale at 50% off and there was fortunately just enough left on
the bolt.  Gorgeous!
Is satin such a particular weave that it never has slubs? Does dupioni in
this case denote a "changeable" color in the satin? presuming that two
colors of warp and woof are what makes it 'changeable?' I have a couple of
pieces in my stash that are colored in this way and the face side is slubbed
and the reverse is smooth.  It was sold as 'antique satin'.
Kathleen
----- Original Message ----- 
From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: <h-costume@indra.com>
Sent: Tuesday, February 10, 2004 11:32 AM
Subject: [h-cost] Silk dupioni satin?


> Does anyone know what silk "dupioni satin" is?  I've seen it listed on
> Fabric.com
>
(http://store.yahoo.com/phoenixtextiles/fabric-apparel---fashion-fabrics-sil
> ks-silk-satins.html) and emailed them to ask, but I haven't received a
> reply.
>
> As far as I'm concerned, satin is a very smooth weave and dupioni a very
> slubby weave -- I don't understand how the two can be in the same fabric!
> Any guesses?
>
> - Kendra
>
> _______________________________________________
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>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Men in skirts, and women! 
Date: Tue, 10 Feb 2004 22:08:44 -0500
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On Tuesday 10 February 2004 06:40 pm, Alexia S. Jacobs wrote:
[snip]
> I think the concept of femininity rubbed him the wrong way in general and
> he was comfortable with women as long as he could look on them as on men. 
> I do not feel particularly trapped by the expectations of femininity.  I do
> not think I am presenting myself merely as a sexual object.  Every once in
> a while something reminds me of him and I fume for an hour or so.  I have
> never seen the Legally Blond movies, but from what I have seen of previews
> it seems that the main character's problem is ditziness rather than
> girliness.  Sorry. 

I haven't seen the "Legally Blonde" movies either, but what I have seen of the 
previews convinces me that my problem with the *movies* themselves is that 
they deliberately confuse ditziness with girliness.  (OCC clue:  Reese 
Witherspoon as the protagonist wears screaming pink throughout both movies.)
Your high school teacher, on the other hand, was confusing seriousness with 
drabness.  It's the same error--the focus is on a different set of 
stereotypes, that's all.

It's the same error.  Men and women are *people*, and the sooner we all 
realize that, the sooner we may be able to figure out what "masculine" and 
"feminine" means instead of assuming we *know* and tyrannizing people by 
imposing stupid stereotypes on gender roles.

Sorry for the rant; I'll shut up now.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: [h-cost] Re: Men in skirts, and women!
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  I have
> never seen the Legally Blond movies, but from what I have seen of previews
> it seems that the main character's problem is ditziness rather than
> girliness.  Sorry.  Reading John Steinbeck, who also seems unnecessarily
> mystified by women, for my comp lit class brought on this small rant.  Has
> anyone here had similar problems?
> Alexia

(singing wildly off key) "I enjoy being a girl..."


Men and women are different. Plain and simple. Unfotunately, femininity has
now become equated (often) with vapid, brainless, helpless females. And
people like Paris and Nicole don't help any...

Dianne

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Subject: Re: [h-cost] silk velvet.
Date: Tue, 10 Feb 2004 22:19:28 -0500
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For me, charmeuse is soft and very supple.  I think it first began to be
used for underwear in the first quarter of the 20th C, and then made its way
into the design of all those slinky gowns of the '30s. Not at all the same
thing as crepe backed satin. It also was used for undies (think pink and
toffee) but does not have the easy flow and drape as charmeuse.
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, February 10, 2004 7:52 PM
Subject: Re: [h-cost] silk velvet.


> In a message dated 2/10/2004 6:02:27 PM Eastern Standard Time,
> mudsleidi@cox.net writes:
>
> > http://www.mini-magic.com/cgi-bin/new-mini/catalog/multitest.htm
> >
>
> This high priced site has "Crepe Back Heavy Silk Satin"...like we were
> talking about in another thread [dupioni satins?]. Anyway, the site says
"Often
> called Charmuese".
>
> Really? The poly crepe back satin wasn't like charmuese...not even poly
> charmuese.
> _______________________________________________
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>

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From: Heather Meadows <alice@wonderland.com>
Date: Sun, 8 Feb 2004 08:06:34 -0800
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Subject: [h-cost] History of the sari
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I'm looking for some pointers to books on the history of the sari - is 
this anyone's field and can they recommend anything?  Relatively high 
level is fine.

Thank you!

.heather.meadows.

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To: h-costume@indra.com
From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: Re: [h-cost] silk velvet.
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At Tue, 10 Feb 2004 18:06:12 -0600, "Lisa Sinervo" 
<Lisa-list@thrednedlestrete.com> wrote:

>But if this was the case, cotton velvet, rayon/silk etc etc would also be 
>astronomical as it involves the same manufacturing process.  Not that I 
>have the answer, just I'm puzzled too.

I think I might...

Based on what Ann wrote, which has been echoed by other people on this list 
and off, in a true velvet the pile-thread goes in one direction, and in 
velveteen, it goes in the other (I'm thinking velvet is warp, velveteen is 
weft?). Someone on one of my lists observed that the difference can be told 
by unravelling one or two rows of weft.

I believe that most of what I've seen sold as "velvet" is technically 
"velveteen", which sounds like a much easier fabric to weave than true 
velvet and much more easily adapted to today's automated fabrication 
methods... which is why we have material sold as "velvet" at prices that 
are *arguably) affordable for the average person.



Brenda
webwarren@earthlink.net


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Date: Tue, 10 Feb 2004 21:36:45 -0600
Subject: Re: [h-cost] History of the sari
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As far as I know, there is actually very little in the way of scholarship
regarding saris. My favorite book on the subject is "Saris: An
Illustrated Guide to the Indian Art of Draping" by Chantal Boulanger 
ISBN 0-966149601-0

I love wearing saris tho it can look a bit strange with my blonde hair,
pale skin and grey eyes, but I do it anyway!

Karen


On Sun, 8 Feb 2004 08:06:34 -0800 Heather Meadows <alice@wonderland.com>
writes:
> I'm looking for some pointers to books on the history of the sari - 
> is 
> this anyone's field and can they recommend anything?  Relatively 
> high 
> level is fine.
> 
> Thank you!
> 
> .heather.meadows.
> 
> _______________________________________________
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Subject: Re: [h-cost] Silk dupioni satin?
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> Is dupioni a weave or weight of silk?
It's a weave. Actually, dupioni is made from... I believe it's something
like cocoons that have fused together, or something similar, so it produces
slubs. Dupioni is, AFAIK, always the same weight, i.e. pretty light and
crunchy, and shiny and slubby. Very easy to recognize.

> Is satin such a particular weave that it never has slubs?
I think you have to select the right cocoon for your silk to have slubs. It
is now a desirable quality. But "real" silk doesn't have slubs. The silk
thread comes off the cocoon and is spun in a smooth thread, woven in a
smooth and unslubby fabric. It's not so much that satin is a particular
weave. It's that the silk used to make duppioni is especially selected
because it's slubby. Normal silk wouldn't be slubby.

> Does dupioni in
> this case denote a "changeable" color in the satin?
Dupioni is usually changeable, meaning the warp and weft threads are
different colors. I've seen some dupioni that's not changeable, but it's
often seen only in white or black. Satin, I think, is usually not
changeable. At least the ones I've seen (I haven't seen a great many of them
:-) But I think the term "dupioni" denotes the slubs, not the changeable
quality.

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In a message dated 2/10/2004 8:17:31 PM Mountain Standard Time, 
alice@wonderland.com writes:
I'm looking for some pointers to books on the history of the sari - is 
this anyone's field and can they recommend anything?  Relatively high 
level is fine.
I have read in a number of books that the origination of the sari dates back 
to the conquest of India by Alexander the Great and that the sari is a loose 
interpretation of Greek dress.

Cheryl
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] History of the sari
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Cheryldee@aol.com wrote:

>In a message dated 2/10/2004 8:17:31 PM Mountain Standard Time, 
>alice@wonderland.com writes:
>I'm looking for some pointers to books on the history of the sari - is 
>this anyone's field and can they recommend anything?  Relatively high 
>level is fine.
>I have read in a number of books that the origination of the sari dates back 
>to the conquest of India by Alexander the Great and that the sari is a loose 
>interpretation of Greek dress.
>
>  
>
Sounds interesting. Do you recall offhand which books these were?

liz young

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Subject: Re: [h-cost] History of the sari
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I would take a look at:  _The sari: styles, patterns, history, techniques_
by Linda Lynton.

http://www.amazon.com/exec/obidos/tg/detail/-/0810944618/qid=1076478839/sr=1
-1/ref=sr_1_1/103-3518816-8715833?v=glance&s=books

(We have it at work -- let me know if you want me to check it out so you can
look through it before you decide to buy it!)

- Kendra




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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Men in skirts, and women!
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>For the record I love girly
>girl clothes and often dress kinderwhore. I milk it for all I'm worth.
>Helpless to the last with iron inside the velvet glove.

I have no problem with feminine, with skirts, even with women getting into 
being sexy.   I find that I do have a problem with 'girly' and all that 
other ruffly pink stuff when worn by grown women, because I equate it with 
extreme youth.  Sorry.  I just can't take that costume seriously on anyone 
over about age 5, and have to ignore it, when talking to an over-5 female 
wearing it, in order to take her seriously.  I have the same reaction to 
cutesy poo teddy bears and dollies, and geese wearing handkerchiefs around 
their necks.

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

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] OT: Skirting the issue
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>Kayta, you may have seen the families during Dicken's Fair in the area near
>the Cow Palace, where there's a church, a community center and several
>stores for the Samoan community in San Francisco.

Their church is the same side of the street as the Cow Palace, between it 
and the McDonalds.

Obligatory costume content - some of these large Samoan men wear brightly 
coloured floral sarongs.


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

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I thought those of you that use Horse shampoo for washing their woolens and
silks may find this amusing.

A friend of ours has a couple of horses. What does she use to wash them? A
locally available PH-Neutral Wool wash! Does well for their dog too.

Makes sense to me.

Glenda.

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 I have the same reaction to
> cutesy poo teddy bears and dollies, and geese wearing handkerchiefs around
> their necks.

gakk...can't stand teddy bears and dollies. My MIL has gotten the idea
nicely--her last two gifts for me were a charming little woodland elf and a
dragon.

Dianne

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On Wed, 11 Feb 2004, Glenda Robinson wrote:

> A friend of ours has a couple of horses. What does she use to wash
> them? A locally available PH-Neutral Wool wash! Does well for their
> dog too.

When I was a reporter for a newspaper in Iowa, I learned that the local
4-H kids washed their competition-bound sheep in Woolite.

--Robin

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With Steinbeck? or with men? <weg>
Only in reverse, as there's very, very little about my personality or 
clothing choices that's "girly" or traditionally "feminine".  And I get 
tired unto death, sometimes, for being taken as some kind of d@mn 
neutered "thing" because I don't give off the right girly signals.  I'd 
love to be part of a culture in which men and women could adorn their 
bodies (or not) in whatever way they chose, and not have so many social 
cues and assumptions tacked onto appearance....
When reenacting (to bring this back on topic), I wear gender-appropriate 
clothing for the time period, rather than go through all of the "I'm a 
woman passing as a man for X weird reasons" silliness I've seen friends 
try (which is NOT the same as the men and women I've seen successfully 
*pass* as the opposite gender).  Given my personal (physical) shape, 
there's no way I could look anything *but* female! <g>  I have finally, 
though, stopped trying to wear any of the lovely, impractical stuff I'd 
only get dirty or ruin....I could never wear any of the beautiful stuff 
Bjarne makes, for instance, whether it had skirts or pants!
--sue, with a rant of her own....

Alexia S. Jacobs wrote:
<snipped>
  Has
> anyone here had similar problems?
> Alexia> 

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This former 4-H kid used to wash her competition chickens in a mild 
solution of shampoo with a bit of blueing in it (white chickens).
--sue

Robin Netherton wrote:

> On Wed, 11 Feb 2004, Glenda Robinson wrote:
> 
> 
>>A friend of ours has a couple of horses. What does she use to wash
>>them? A locally available PH-Neutral Wool wash! Does well for their
>>dog too.
> 
> 
> When I was a reporter for a newspaper in Iowa, I learned that the local
> 4-H kids washed their competition-bound sheep in Woolite.
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: Re: [h-cost] History of the sari
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In a message dated 2/10/2004 10:19:15 PM Mountain Standard Time, 
lizyoung@fenris.net writes:
Sounds interesting. Do you recall offhand which books these were?
Sorry (sari?) I don't.  And it may very well may not be true, like much of 
the costume mythology presented as fact in costume history books.
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Subject: Re: [h-cost] History of the sari
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In a message dated 2/10/2004 10:47:46 PM Eastern Standard Time, 
seamstrix@juno.com writes:

> As far as I know, there is actually very little in the way of scholarship
> regarding saris. My favorite book on the subject is "Saris: An
> Illustrated Guide to the Indian Art of Draping" by Chantal Boulanger 
> ISBN 0-966149601-0
> 

How about cholis? I want a traditional choli pattern. [not the one on the Web 
with the hanging pockets and the princess seams that everyone points me 
to....even if it is a traditional form] I want a pattern that is like what I see in 
the films "The Mahabharata" and "Kama Sutra". It appears to have no darts or 
shaping over the bust. In fact, it looks like the pattern pieces are all 
squares and rectangles. They are very tight fitting. I can't figure out how they 
close [though you rarely see the back]. Is there a choli [or perhaps a 
choli-like garment with another name] that takes this form?

And some of the men's clothes look great. Those, again, square cut robes with 
triangular pieces at the sides for fullness....like a medieval tunic. And 
large unstructured things, like a West African Bou-bou.
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Subject: Re: [h-cost] Re: Men in skirts, and women!
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In a message dated 2/11/2004 7:29:30 AM Eastern Standard Time, 
goofy1@suscom.net writes:

> her last two gifts for me were a charming little woodland elf and a
> dragon.
> 

LOL...finally! Some grown up gifts!
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To: h-costume@indra.com
Date: Wed, 11 Feb 2004 09:01:58 -0600
Subject: Re: [h-cost] History of the sari
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According to Chantal Boulanger, the unsewn sari is more typical of the
southern parts of India rather than the sewn chalwar/kameez style typical
of the northern parts of India. I believe that Alexander was in the north
of India rather than the south.....and besides, wasn't he Macedonian? 
Apparently, there is a religious component to the wearing of uncut cloth.
In some aspect of the Hindu faith (or so I'm told) it is regarded as
insulting to the cloth to cut and sew it, so it is worn (traditionally)
by wrapping, tucking, and tying. Also there are a myriad of ethnic styles
to wearing the sari for women as well as several male styles. 


Karen


On Wed, 11 Feb 2004 09:44:57 EST Cheryldee@aol.com writes:
> In a message dated 2/10/2004 10:19:15 PM Mountain Standard Time, 
> lizyoung@fenris.net writes:
> Sounds interesting. Do you recall offhand which books these were?
> Sorry (sari?) I don't.  And it may very well may not be true, like 
> much of 
> the costume mythology presented as fact in costume history books.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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To: "Historical Costume" <h-costume@indra.com>
References: <7c.4202ead7.2d5b9cd6@aol.com>
Subject: Re: [h-cost] History of the sari
Date: Wed, 11 Feb 2004 10:22:14 -0500
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A lot of these questions have been a dressed on the Yahoo e-group SCA_India
http://groups.yahoo.com/group/SCA_India/?yguid=4711870 There are several
very knowledgeable people on the list who are very helpful in finding some
of the answers.
Dinah
----- Original Message -----
From: <AlbertCat@aol.com>
> In a message dated 2/10/2004 10:47:46 PM Eastern Standard Time,
> seamstrix@juno.com writes:
>
> > As far as I know, there is actually very little in the way of
scholarship
> > regarding saris. My favorite book on the subject is "Saris: An
> > Illustrated Guide to the Indian Art of Draping" by Chantal Boulanger
> > ISBN 0-966149601-0
> >
> > How about cholis? I want a traditional choli pattern. [not the one on
the Web
> with the hanging pockets and the princess seams that everyone points me
> to....even if it is a traditional form] I want a pattern that is like what
I see in
> the films "The Mahabharata" and "Kama Sutra". It appears to have no darts
or
> shaping over the bust. In fact, it looks like the pattern pieces are all
> squares and rectangles. They are very tight fitting. I can't figure out
how they
> close [though you rarely see the back]. Is there a choli [or perhaps a
> choli-like garment with another name] that takes this form?
>
> And some of the men's clothes look great. Those, again, square cut robes
with
> triangular pieces at the sides for fullness....like a medieval tunic. And
> large unstructured things, like a West African Bou-bou.


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Subject: Re: [h-cost] History of the sari
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I know FolkWear makes a pretty decent choli pattern. And IIRC so does
Attira.


----- Original Message ----- 
> How about cholis? I want a traditional choli pattern. [not the one on the
Web
> with the hanging pockets and the princess seams that everyone points me
> to....even if it is a traditional form] I want a pattern that is like what
I see in
> the films "The Mahabharata" and "Kama Sutra". It appears to have no darts
or
> shaping over the bust. In fact, it looks like the pattern pieces are all
> squares and rectangles. They are very tight fitting. I can't figure out
how they
> close [though you rarely see the back]. Is there a choli [or perhaps a
> choli-like garment with another name] that takes this form?
>
> And some of the men's clothes look great. Those, again, square cut robes
with
> triangular pieces at the sides for fullness....like a medieval tunic. And
> large unstructured things, like a West African Bou-bou.
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Date: Wed, 11 Feb 2004 09:11:59 -0800
Subject: Re: [h-cost] OT: Skirting the issue
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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On 2/10/04 11:04 PM, "Carolyn Kayta Barrows" <kayta@frys.com> wrote:

> 
>> Kayta, you may have seen the families during Dicken's Fair in the area near
>> the Cow Palace, where there's a church, a community center and several
>> stores for the Samoan community in San Francisco.
> 
> Their church is the same side of the street as the Cow Palace, between it
> and the McDonalds.
> 
> Obligatory costume content - some of these large Samoan men wear brightly
> coloured floral sarongs.
> 
> 
>       CarolynKayta Barrows


And suit jackets with their brightly colored floral sarongs. And they look
regal - tall, solid, shoulders back and straight. They always make me
remember to stand up straight for a couple of hours at least whenever I see
them. The women are even more regal and more brightly dressed, and never
garishly. 

LynnD

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Subject: Re: [h-cost] Silk dupioni satin?
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Kendra wrote on Tuesday, February 10, 2004 4:32 PM, re  Silk dupioni
satin?


> Does anyone know what silk "dupioni satin" is?  I've seen it listed
on
> Fabric.com
>
(http://store.yahoo.com/phoenixtextiles/fabric-apparel---fashion-fabri
cs-sil
> ks-silk-satins.html) and emailed them to ask, but I haven't received
a
> reply.

I haven't the foggiest about the technicalities, but the dupioni satin
which Liberty's used to sell, before they abandoned most dressmaking
fabrics, looked typical dupion silk on one side and typical satin silk
on the other. So it does exist...

best wishes
Stevie

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Subject: [h-cost] men in skirts
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I could never wear any of the beautiful stuff 
Bjarne makes, for instance, whether it had skirts or pants!
--sue, with a rant of her own....


Why thankyou Sue, but are you absolutely sure of that?
That i could not do anything for you to look good in?
Just kidding!
In the swedish society of Gustafs Skĺl, there are some women who cross dresses in mens costumes. And they are very very good. It took me quite some time, before i found out of that. They  looks so good! 
There also should be some men who cross dresses into womens dress, but i have not seen any of them yeat. There would be a problem with their wide shoulders though!

Bjarne, who only cross dresses into another time..........

 





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Just as an aside, in Samoa, (and in Papua NG, I think) a men's "sarong" is called a lavalava.  And although "sarong" is used generically here in the states to refer to both the length of fabric as well as the wrapped garments, when one refers to a sarong in Samoan context, it is the garment worn by women.  There are several other words for the male "sarong," too, BTW, depending on where you are.

A guy in a sarong (unless he was doing drag), with or without a suit jacket, would be remarkable, indeed.

Pallas
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Does anyone know of any research done on French or English embroidery circa 1795-1820 (preferably on women's clothing)? I've been doing research for a set of regency outfits, and in the c.1805 era embroidery on women's clothes seems quite fashionable, and has (from my observation) standard placement on the dresses. However, I can't seem to find much on the actual designs/stitches/materials/patterns used in the embroidery. I'm especially interested in the patterns used -- some of the fashion books (the new Kyoto book, _Fashion_ and also _Fashion in the Age of Napoleon_) show some nice close-ups of embroidery on dresses, but they don't show enough to be able to duplicate the design, 'cause you can't see the whole design clearly while the dress is being worn... Websites, books, articles -- any suggestions would be helpful!
	Thanks!
		-sunny

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi Sunny,
I have done quite a lot of research on 18th century embroidery for some years now, and you will find, that it is very difficult to find patterns. There are some few patternbooks from regency period. A book i have had a lot of use of is: Charlotte Paludan & Lone de Hemmer Egeberg:
98 Pattern books, for embroidery, lace and knitting.
It is a book that tells you all about the Museum of Decorative Arts in Copenhagen and their Collektion of Pattern Books. 
Try to ask some of the larger museums with collektions if they have some old patterns.
Some books are: Grosch, Henrik August. Haandbog Til Brodering Og Tegning med 26 illustrations. Copenhagen 1797
Another: Netto, Johann Friedrich 24 prints with embroidery Leipzig 1798 
Another: Hirschmann, C.A
Die junge Stickerinn. Ein Taschenbuch für Frauenzimmer zur Uebun im Sticken und Malen.
Berlin : Friedrich Maurer, 1802
Another: Silling, Karl : Grand Magazin des plus nouveaux dessins francois De Broderie dessinés par Charles Silling, Karl Sillings Grosses Magazin für Stickerei.
Leipzig: Industrie-Comptoir 1808 book 1-6
In your research try also to find some textile artists, like those who designed wowen fabrics for costume. I have found some embroidery patterns of Anna Maria Garthwaite who designed a lot of Spitalfields Silks.
In some books with ornament, you also could be lucky to find some designer names, wich has made embroidery patterns.
If you would email me with your private email address, i could give you some of my regency patterns wich i took at the museum. But you must promise me, not to use them in public, like take them onto a webpage or use in any public domain. They are from an old danish pattern book from 1795.

Bjarne
 





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Date: Wed, 11 Feb 2004 14:08:32 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Men in skirts, and women!
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>When reenacting (to bring this back on topic), I wear gender-appropriate 
>clothing for the time period, rather than go through all of the "I'm a 
>woman passing as a man for X weird reasons" silliness I've seen friends 
>try (which is NOT the same as the men and women I've seen successfully 
>*pass* as the opposite gender).  Given my personal (physical) shape, 
>there's no way I could look anything *but* female! <g>

My Ren. Faire male character had to be short and paunchy for me to pass at 
all (our group was short on men).  I looked thru all the possible Ren. 
costumes I could put a male character in, then decided on German because I 
could put him in long puffy German pluderhosen to best disguise the wrong 
curves in my bone structure.  His fake moustache, his 'body shaper, and the 
fact that I speak in the tenor range not the soprano one, plus the fact 
that the group members treat him like one of the guys, all help.

I am now contemplating a male character for my 18th century maritime group, 
for water safety reasons.  If one of us rowers accidentally falls into the 
San Francisco Bay (off a rowboat maybe 20' long), it would be safer if we 
were wearing breeches, shirt, and sleeveless waistcoat than if we were 
wearing chemise, stays (or even jumps), and the right number of 
petticoats.  So it was decided that all the rowers should be men of some 
kind.  The subject of male cross dressing immediately came up, this being 
Northern CA, and we decided that of course our male members may wear 
women's clothes on dry land if they choose to.

>I have finally, though, stopped trying to wear any of the lovely, 
>impractical stuff I'd only get dirty or ruin....

I too gave up on the more impractical historical woman-clothes.  It's 
relatively easy for someone my age.  I go for lots of period detailing 
rather than a super-fashionable, or super-feminine, look.  One woman in our 
18th century group only does male personae when she is around historical 
ships, because she is one of the folks who climb the rigging to do whatever 
they need to do up there.  I stand on the deck in my skirt and answer 
questions from visitors (I'm confident I won't fall off a 256.5' ship tied 
to a pier).

>I could never wear any of the beautiful stuff Bjarne makes, for instance, 
>whether it had skirts or pants!

I habitually wear t-shirt and jeans, in preference to more the fragile kind 
of women's clothes, because I am hard on clothes, and for the most part 
mens' clothes are built stronger (double seams, more practical material, 
utilitarian pockets, repairable shoes, etc.).  My mundane dresses are all 
simple in cut and easy to clean and, except for the acute lack of pockets, 
I actually prefer long flowing skirts to my usual jeans.  My Sweetie wears 
only Levis brand jeans because he says that company makes the strongest 
pockets.  I tend to put things in my pockets and not carry a purse, and I 
pretty much agree with him about Levis' pockets.

>--sue, with a rant of her own....


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

              //// \\\
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             (((  <> ))))
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From: "Kathy Hoover" <khoover@wvu.edu>
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Subject: [H-Cost] Early 20th century photos of Russian Empire
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This may be old news, because this exhibit was presented in the spring
and summer of 2001, but for anyone doing costumes and personas from
areas that made up the Russian Empire, the Library of Congress has a
great site. 

The Empire That Was Russia  is part of the collection of photos by
Sergei Mikhailovich Prokudin-Gorskii, taken to survey the Russian Empire
in 1909-1912 and 1915.

You can search by subject at: 
http://lcweb2.loc.gov/pp/prokhtml/proksubjindex1.html 

or begin at the beginning:
http://www.loc.gov/exhibits/empire 

I couldn't find the main thing I was looking for, though, which is more
pictures of that style of Ukrainian architecture with the slope-y,
scoopy roofs.  If anyone knows of any good websites or books, I'd
appreciate the info.


Thanks,
Kathy Hoover




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Carolyn Kayta Barrows wrote:

> I habitually wear t-shirt and jeans, in preference to more the fragile 
> kind of women's clothes, because I am hard on clothes, and for the 
> most part mens' clothes are built stronger (double seams, more 
> practical material, utilitarian pockets, repairable shoes, etc.).  My 
> mundane dresses are all simple in cut and easy to clean and, except 
> for the acute lack of pockets, I actually prefer long flowing skirts 
> to my usual jeans.  My Sweetie wears only Levis brand jeans because he 
> says that company makes the strongest pockets.  I tend to put things 
> in my pockets and not carry a purse, and I pretty much agree with him 
> about Levis' pockets.

I like long flowing skirts also, and have thought about slits and 
hanging pockets to solve the no-pockets problem, and to avoid having one 
swaying, lumpy bit in the nice flowing skirt, as would happen w/ a 
regular pocket and all the stuff I try to cram into it.

flat waistband and interior buttons, holes on the top of the pockets?

still in the thinking-about-it stages
liz young

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I go to school at a Catholic seminary. Most of my teachers are priests, and
many of my classmates are too. They don't have any trouble working with
feminine-looking women. The teachers expect me to get my theology right just
like the men! I think engineers may have more trouble with the concept.

Gail Finke

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To: Historical Costume <h-costume@indra.com>
Subject: Re: Re: [h-cost] Re: Men in skirts, and women!
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>I like long flowing skirts also, and have thought about >slits and hanging pockets to solve the no-pockets problem, >and to avoid having one swaying, lumpy bit in the nice >flowing skirt, as would happen w/ a regular pocket and all >the stuff I try to cram into it.

>flat waistband and interior buttons, holes on the top of >the pockets?

>still in the thinking-about-it stages
>liz young

Liz, 

For what it's worth, aprons are 'in' now!

Cheers,
Heidi F.


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Go look at this auction on ebay:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3585180652&category=29220

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
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And that's on clearance folks!! Bah.
I feel so broke now.


----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Wednesday, February 11, 2004 9:25 PM
Subject: [h-cost] For those with a big purse


Go look at this auction on ebay:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3585180652&category=29220

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
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] History of the sari
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On Sunday 08 February 2004 11:06 am, Heather Meadows wrote:
> I'm looking for some pointers to books on the history of the sari - is
> this anyone's field and can they recommend anything?  Relatively high
> level is fine.

I'd be delighted. 

Someone has already given you the full cite and ISBN for Chantal Boulanger's 
book, so I don't have to.  I will tell you that the easiest way to get it is 
to buy it from her directly.  The price is $30 US.  It's worth the price even 
though it's spiral bound with wire, because it has information about regional 
draping styles, much of which she collected by traveling through India and 
personally asking sari wearers (so the information really can't be found 
anywhere else).  You can contact her through this web site:

http://www.idcw.org.uk/IDC.html

This is part of the Institute for Draped Clothes site, which she founded.  
It's a fun site to explore, and includes draped garments of all kinds, not 
just the sari.

Speaking of "The SARI," someone also mentioned Lynda Linton's book.  Again, 
like Boulanger's book, this is more a cataloging of "traditional" sari styles 
by region, rather than a history per se (though there is a bit of historical 
detail in it).  Unlike Boulanger's book, it focuses not on how saris are 
draped, but on what the cloth itself looks like.  It is chock full of 
gorgeous color photos.  Full citation info:

Lynda Linton.  The Sari:  Styles-Patterns-History-Techniques.  Harry N. 
Abrams, Inc., Publishers 1995.  ISBN 0-8109-4461-8.  (This is the ISBN for my 
hard-cover edition; I have since seen a softcover edition, though I don't 
have an ISBN for it).

Two other books you will find interesting (assuming you can lay your hands on 
copies) are:

Charles Fabri.  Indian Dress.  Sangam Books Limited, 1994.  ISBN 0 86311 507 
1.

Roshen Alkazi.  Ancient Indian Costume.  National Book Trust, 1st ed. 1st 
reprint 1998. ISBN 81-237-1687-7

Both of these books are small paperbacks.  The Fabri book is a timeline of 
Indian costume from about 150 B.C.E. to 1820 C.E.; the Alkazi book does the 
same sort of thing but covers less ground (321 B.C.E. to mid-8th century 
C.E.).  Both are illustrated exclusively with line drawings  Both have 
bibliographies that draw heavily from books on Indian art and sculpture.

I bought Fabri's book in London during a 1995 visit.  I obtained the Alkazi 
book, which I understand to be a condensation of a larger work, from this web 
site some years ago:

http://www.indiaclub.com/shop/home.asp

Good luck and happy hunting!



-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Date: Wed, 11 Feb 2004 20:17:00 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Re: Men in skirts, and women!
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At 10:08 PM -0500 2/10/04, Catherine Olanich Raymond wrote:
>On Tuesday 10 February 2004 06:40 pm, Alexia S. Jacobs wrote:
>[snip]
>>  I think the concept of femininity rubbed him the wrong way in general and
>>  he was comfortable with women as long as he could look on them as on men.
>>  I do not feel particularly trapped by the expectations of femininity.  I do
>>  not think I am presenting myself merely as a sexual object.  Every once in
>>  a while something reminds me of him and I fume for an hour or so.  I have
>>  never seen the Legally Blond movies, but from what I have seen of previews
>>  it seems that the main character's problem is ditziness rather than
>>  girliness.  Sorry.
>
>I haven't seen the "Legally Blonde" movies either, but what I have seen of the
>previews convinces me that my problem with the *movies* themselves is that
>they deliberately confuse ditziness with girliness.  (OCC clue:  Reese
>Witherspoon as the protagonist wears screaming pink throughout both movies.)
>Your high school teacher, on the other hand, was confusing seriousness with
>drabness.  It's the same error--the focus is on a different set of
>stereotypes, that's all.

(Since "blonde" costume is a big part of the movies, I don't feel 
this is _entirely_ off topic to follow up on ....)

If you ever have an evening to kill and a Legally Blonde video at 
hand, you might be pleasantly surprised.  (I was.)  The movies are -- 
in a rather twisted way -- very much about _not_ judging people's 
abilities or intelligence by appearance or style.  The protagonist is 
ditzy, yes, (and girly) but she succeeds because she's smart (both 
book-smart and people-smart), holds to her principles, and never 
gives up.  I was really startled to find myself thoroughly enjoying 
them -- radical femininst that I am.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Men in skirts, and women!
In-Reply-To: <p05100308bc50ad289e16@[136.152.197.200]>
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>>I haven't seen the "Legally Blonde" movies either, but what I have seen 
>>of the
>>previews convinces me that my problem with the *movies* themselves is that
>>they deliberately confuse ditziness with girliness.  (OCC clue:  Reese
>>Witherspoon as the protagonist wears screaming pink throughout both movies.)
>>Your high school teacher, on the other hand, was confusing seriousness with
>>drabness.  It's the same error--the focus is on a different set of
>>stereotypes, that's all.
>
>(Since "blonde" costume is a big part of the movies, I don't feel this is 
>_entirely_ off topic to follow up on ....)
>
>If you ever have an evening to kill and a Legally Blonde video at hand, 
>you might be pleasantly surprised.  (I was.)  The movies are -- in a 
>rather twisted way -- very much about _not_ judging people's abilities or 
>intelligence by appearance or style.  The protagonist is ditzy, yes, (and 
>girly) but she succeeds because she's smart (both book-smart and 
>people-smart), holds to her principles, and never gives up.  I was really 
>startled to find myself thoroughly enjoying them -- radical femininst that 
>I am.

I've seen it too - ditto the sentiment above.  Obligatory costume content: 
the heroine wears pink a lot (shudder).

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

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Subject: Re: [h-cost] For those with a big purse
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Thanks for the link.  I'm mostly a bookbinder these days, so any historical
book is worth looking at, especially with as many pictures as this one.
                   -Helen/Aidan



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Subject: [h-cost] Pockets in skirts
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Have you considered making pockets which are completely supported by the
waistband?  Sort of a truncated tear-drop shape with a vertical slit
opening, and reached via an opening in the side seams.  You could make them
as deep as necessary and place them on the waistband where they wouldn't be
too lumpy.  I remember seeing something similar in 18th c and earlier; the
pockets were worn on a belt over the petticoat, but under the skirt.
                                  -Helen/Aidan


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Your stuff's so good, Bjarne, even somebody like me would look 
wonderful, but I'd be way too afraid of hurting the costume! I'd be 
afraid to even breathe on something that beautiful, expensive and fragile.
I can sure admire them from afar, though! ;o)
--sue

Bjarne og Leif Drews wrote:
> I could never wear any of the beautiful stuff 
> Bjarne makes, for instance, whether it had skirts or pants!
> --sue, with a rant of her own....
> 
> 
> Why thankyou Sue, but are you absolutely sure of that?
> That i could not do anything for you to look good in?
> Just kidding!
> In the swedish society of Gustafs Skĺl, there are some women who cross dresses in mens costumes. And they are very very good. It took me quite some time, before i found out of that. They  looks so good! 
> There also should be some men who cross dresses into womens dress, but i have not seen any of them yeat. There would be a problem with their wide shoulders though!
> 
> Bjarne, who only cross dresses into another time..........

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Subject: [h-cost] disproving incorrect assertions, please advise
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My boss at one of the living history sites at which I participate keeps 
making incorrect assertions about costumes, a field in which I demonstrably 
know more than she does (I can usually point to one of the resources in 
their docent library to back up things I say about costuming).  She tells 
us that we are doing exactly 1901, then says we can wear clothes as far 
back as 1885 (I don't believe 1885 bustles being worn in 1901 in a city as 
cosmopolitan as San Francisco).  She says we can't wear "bright colors" 
because they are too expensive, but allows us to play characters who are 
wealthy (some calicos from c.1901 were pretty brightly coloured, as were 
some patterned cotton feed sacks).  She tells us that corsets, which she 
insists the woman docents wear, are necessarily uncomfortable because hers, 
not made by her, is uncomfortable (I amazed her by reaching over and 
touching my toes while wearing mine, which I had made).  She insists we 
have to write up detailed character life histories, then says we can't do 
first person interpretation (she and several others discuss things like 
computers while eating lunch on site in full view of the visitors).  It 
wouldn't be so bad if she didn't claim to be such a stickler for 
authenticity while being unable to recognize it, or its lack (some of the 
garments other docents wear are either way too late for 1901 or are 
blatantly modern).

So how do I correct my living history boss when she's documentably 
wrong?  Is it possible to gently do something about this situation without 
getting thrown out of the program for perceived insubordination?  Please 
advise.

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

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Date: Thu, 12 Feb 2004 08:19:01 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Pockets in skirts
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>Have you considered making pockets which are completely supported by the
>waistband?

No.  I put lots of stuff in my pockets, and that makes this sort of pocket 
bang around inside the skirt, making moving lumps visible from the outside.

>I remember seeing something similar in 18th c and earlier; the
>pockets were worn on a belt over the petticoat, but under the skirt.

This only works if your skirt is extra wide on the sides, or if you don't 
put your wallet, all your car keys, an Altoids box, and a couple of key 
chain tool kits in your pockets.  In the 18th century there might be room 
for a little dog on one side and your knitting on the other.  In the 21st 
century this is not possible.  And yes, I have quite a collection of canvas 
craft-project-carrier bags.

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

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Date: Thu, 12 Feb 2004 09:01:48 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
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At 07:56 AM 2/12/2004 -0800, you wrote:
>My boss at one of the living history sites at which I participate keeps 
>making incorrect assertions about costumes, a field in which I 
>demonstrably know more than she does (I can usually point to one of the 
>resources in their docent library to back up things I say about 
>costuming).  She tells us that we are doing exactly 1901, then says we can 
>wear clothes as far back as 1885 (I don't believe 1885 bustles being worn 
>in 1901 in a city as cosmopolitan as San Francisco).  She says we can't 
>wear "bright colors" because they are too expensive, but allows us to play 
>characters who are wealthy (some calicos from c.1901 were pretty brightly 
>coloured, as were some patterned cotton feed sacks).  She tells us that 
>corsets, which she insists the woman docents wear, are necessarily 
>uncomfortable because hers, not made by her, is uncomfortable (I amazed 
>her by reaching over and touching my toes while wearing mine, which I had 
>made).  She insists we have to write up detailed character life histories, 
>then says we can't do first person interpretation (she and several others 
>discuss things like computers while eating lunch on site in full view of 
>the visitors).  It wouldn't be so bad if she didn't claim to be such a 
>stickler for authenticity while being unable to recognize it, or its lack 
>(some of the garments other docents wear are either way too late for 1901 
>or are blatantly modern).
>
>So how do I correct my living history boss when she's documentably 
>wrong?  Is it possible to gently do something about this situation without 
>getting thrown out of the program for perceived insubordination?  Please 
>advise.
>
>        CarolynKayta Barrows

Kayta,
I don't know of any way to educate your "boss" if she doesn't want to 
learn.  I, too, run into this problem with certain folks in living history 
activities that I participate in.  All I can do is, by personal example, 
try to educate other folks so that the various myths about certain aspects 
of costume (corsets seem to be a major source for these) are refuted, or at 
least diluted.  For example, I always emphasize to people who question the 
comfort of a corset that the corset must be made to fit the individual and 
cannot be off-the-rack and be truly comfortable for long-term wear, 
especially if you are doing physical work (like cooking in an open 
hearth).  Is there any way you could offer to teach some classes on 
costuming (in which you are an acknowledged expert) to the docents or 
docents-in-training?
It's too bad that she and other folks can't put aside their modern lives 
for even a few hours.  Real living history is something most visitors find 
fascinating.  Maybe you could aim it from the marketing angle-- e.g., more 
visitors will come, stay longer, and come more often if you work on really 
presenting a living history experience.  Good luck to both of us in raising 
the quality level at our respective sites,

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In a message dated 2/12/2004 10:57:49 AM Eastern Standard Time, 
kayta@frys.com writes:

> So how do I correct my living history boss when she's documentably 
> wrong?  Is it possible to gently do something about this situation without 
> getting thrown out of the program for perceived insubordination?  Please 
> advise.
> 

You leave this group and start your own. [Why do you want to stay there?]

If you do enjoy the group because, after all it is a social kinda thing 
....just make your own stuff the best. Make everyone want to look like you and then 
politely offer to do so. Only challenge her assessment when it directly 
concerns you and back up your assertion with research. Always be polite.

You know this anyway.

Wait...docents...are you getting paid? 
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In a message dated 2/12/2004 12:11:08 PM Eastern Standard Time, 
joanmj@surewest.net writes:

> Good luck to both of us in raising 
> the quality level at our respective sites,
> 

Indeed.


I remember when in New Orleans working on "Interview with the Vampire" I when 
up to Oak Alley Plantation, where we had filmed, and did the tour. [It's also 
Jewel Mayhew's [sp] plantation in "Hush Hush Sweet Charlotte".] A beautiful 
place with Oaks planted in the 17 teens in front and the "baby oaks" planted in 
the1830s when the house that's there now was built. [The old oaks formed an 
alley that went from the Mississippi to a clearing where a house had stood, but 
no one knew exactly who's or when.]
Anyway, the big years for the house are the1830s and [after the War it lay 
unused 'til] the 1930s. The poor girls who do the tour are in hoops. Why? Big 
ill fitting blouses and hoops. The funny thing is, there's a mannequin in a real 
and correct costume in the 1830s section. [Half the house in 1830, half 1930]

I remember thinking how much less fuss an 1830s ensemble would probably be. 
And how it would be fun to have some girls in 1930s stuff...and talk about the 
differences 100 years makes.
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Date: Thu, 12 Feb 2004 10:08:08 -0800
Subject: Re: [h-cost] disproving incorrect assertions, please advise
From: Lynn Downward <LDownward@chori.org>
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On 2/12/04 9:38 AM, "AlbertCat@aol.com" <AlbertCat@aol.com> wrote:

> In a message dated 2/12/2004 12:11:08 PM Eastern Standard Time,
> joanmj@surewest.net writes:
> 
>> Good luck to both of us in raising
>> the quality level at our respective sites,
>> 
> 
> Indeed.
> 
> 
> I remember when in New Orleans working on "Interview with the Vampire" I when
> up to Oak Alley Plantation, where we had filmed, and did the tour. [It's also
> Jewel Mayhew's [sp] plantation in "Hush Hush Sweet Charlotte".] A beautiful
> place with Oaks planted in the 17 teens in front and the "baby oaks" planted
> in 
> the1830s when the house that's there now was built. [The old oaks formed an
> alley that went from the Mississippi to a clearing where a house had stood,
> but 
> no one knew exactly who's or when.]
> Anyway, the big years for the house are the1830s and [after the War it lay
> unused 'til] the 1930s. The poor girls who do the tour are in hoops. Why? Big
> ill fitting blouses and hoops. The funny thing is, there's a mannequin in a
> real 
> and correct costume in the 1830s section. [Half the house in 1830, half 1930]
> 
> I remember thinking how much less fuss an 1830s ensemble would probably be.
> And how it would be fun to have some girls in 1930s stuff...and talk about the
> differences 100 years makes.


I took that tour about five years ago, and I remember thinking the same
thing.  Here's this sample on view of a correct, simple outfit that the
girls (and they were all teenagers) would have looked lovely in and felt
comfortable in (humidity is high), but they had to wear acetate or poly
taffeta costumes in hoops that didn't fit and bodices that fit even worse.
For those who haven't been there, the building and surrounding grounds are
beautiful, the tour is really informative. One thing our guide told us was
that, because of the wet heat, the building has to be painted each and every
year inside and out because the paint just peels off the walls. They were
hoping to get air conditioning in the building in a couple of years to
preserve the house and that, they hoped, would alleviate the problem. I felt
so sorry for the guides in their hot, bulky outfits (no corsets) while I was
wearing all cotton. Their costumes looked like costumes, not outfits.

End of rant,
LynnD


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Hi Carolyn,

     I know it's very frustrating, and I'm glad we all have this forum to vent!

     I see two issues here.  One is her modern discussions, and the other is 
her costume assumptions.  Her opinions on costume, as you describe them, sound 
a lot like reenactor-isms that we see in 18th century and I'm sure occur in 
other time periods as well.  They are conservative ideas usually stated as 
"always" or "never".  It may be about something that is most commonly worn in 
the era, or an edict against some current-day fashion that is not appopriate.

     For example, makeup.  Say I'm a campfollower for the American Revolution - 
the upper class had makeup, and other classes may have had access to it as 
well.  But doubtful for a campfollower, so the head of the group says no 
makeup.  (I'm inventing this part) - What if I find an account of someone who 
could not afford powder and used another substance (maybe flour)?  So I justify 
using it in camp, and, oh what the heck, why don't I just use some 21stC face 
powder, since that's what it's supposed to look like, and a bit of lipstick, 
and...

     By saying you can't use bright colors, maybe she's protecting the program 
against someone showing up in neon tones.  She saves herself having to inspect 
a swatch of every suggested fabric and researching each one, and arguing with 
the person who already bought the fabric, or already made the garment, etc.  
I've heard people claim that they found the "exact" fabric from a portrait or 
extant gown, and while the colors might be the same the print was a 19thC 
calico vs. the correct 18thC brocade.  Having rules on drab colors simplifies 
things.  Is it fair?  Correct?  No, but if you get to break the rules then it's 
a whole can of worms for her to deal with regarding the rest of the 
participants.

     This may not help you any, but maybe knowing about the tendency may help.

     As far as the non-period conversation, that may be worth a confrontation 
with the group.  Is there a meeting where you could bring it up?  You don't 
need to cite any individuals, but say that there has been some modern talk in 
front of visitors.  That, as well as some activities (drinking soda out of a 
can, visibly using a camera) make the interpretors look really foolish. 
Visitors love to catch them at it, and we see plenty of photos in the paper of 
someone doing that. (It's infuriating when most of the reenactors are being so 
careful!)

     Joseph Ruckman once pointed out that the fundamental difference between 
first person & third is the use of pronouns.  "They would have cooked over a 
fire this way" vs. "I'm cooking over a fire".  Ok, so an actual XX century 
person would not be describing the obvious that way, but she might start up a 
conversation about what she's doing.

     What is the boss's argument against first person?  Sometimes an 
interpretor can get too much into playing the part and not really be 
interacting with the visitors.  Some like to tell the visitors they are dressed 
strangely, instead of inviting them into the historic world.  I've seen some 
interpretors posed with questions about the modern world which they handle with 
varying success.  Some give a dumb look, others are able to answer the real 
question without letting on that they know anything about cars, computers, 
radiation therapy, or whatever.  Again, is the boss making a blanket rule in 
order to save her the work of people doing first person badly?

     It may be worth showing her what you can do, practicing with other 
docents, even practicing the sorts of situations or questions visitors might 
have.

     -Carol

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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] disproving incorrect assertions, please advise
Date: Thu, 12 Feb 2004 12:45:38 -0600
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 If your boss is a reader, you can gently push her in the direction of
sources on hand, or offer to lend her some of your books with a suggestion
of "maybe we/I/group should do some research to see what is correct on this
matter"
Also in the corset matter, suggest that just as now custom-made clothing,
shoes and underpinnings are more comfortable than mass-market offerings,
couldn't the same have been true in circa 1901? For instance, women now
still wear the wrong(usually too small)jeans, shoes and bra sizes in the
name of fashion and there is historical proof that this was done in the
past, especially during the corset era.  As for the span of fashion to be
worn in your 1901 era, surviving photographs will be the best evidence of
what was really being worn and you can show your boss those. I can see some
women clinging to the styles of their youth and even the younger women would
be behind the latest styles.

When I was researching the early medical school classes here at Creighton
some years ago, I came across a photo in a 1901 med school bulletin, showing
off one of the classrooms of 1900(it was most definately taken in 1900!)and
what I noticed first is that the two female students(yes, more women were in
medical schools from 1890-1920 than you might think!)wore bodices and
sleeves definately not the denier cri of 1900. One wore a shirtwaist with a
bodice and sleeve style au courant in 1897 while the other wore a plaid
dress with the balloon sleeves of 1894-5. So I would say photographs of
1900-1901 would be your best source as you know, although a formal
photograph with the subjects posed in their best dress would not be final
evidence of what they wore day-to-day.

Cindy Abel
CUMC HSL

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Carolyn Kayta Barrows wrote:
> It wouldn't 
> be so bad if she didn't claim to be such a stickler for authenticity 
> while being unable to recognize it, or its lack 

Maybe you could press her to write up what sufficient documentation is 
in her eyes?  Then use that "ruler" to show her there are things that 
would be better choices?

Example: if you could get her to say that two contemporary examples of a 
color used in dresses from 1897-1900 are enough to support making 
something in that color.  Then find two or five examples of a bright 
color that you want, and show her you've met her requirements?

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Subject: Re: [h-cost] disproving incorrect assertions, please advise
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In a message dated 2/12/2004 1:46:39 PM Eastern Standard Time, 
brujne@creighton.edu writes:

> I can see some
> women clinging to the styles of their youth and even the younger women would
> be behind the latest styles.
> 

True. Most of out mother probably did this. But my mother did not wear 1940's 
clothes in the 60s or 1960s clothes in the 80s. She did however go for the 
current tailored suit with narrow skirt look...which she got used to in the 
1940s. To wear an 1880s gown...even altered, is just a bit too much. Maybe if they 
were wretched and poor but perhaps well to do in the 1880s so...you get the 
idea and that's too much back story to justify it IMHO. There's a way to look 
old fashion without wearing old clothes.
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Thu, 12 Feb 2004 22:48:26 +0100
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Hi.
Just wanted to ask if any of you ever tryed to use rice paper as transfers of patterns onto fabric. Someone told me i could do that just transferring the pattern to rice paper, and then put the rice paper onto the fabric and then embroider on top of the paper. Then the paper could be removed after the embroidery has finished.
Was thinking about trying that, as i have some ribbed silk i want to embroider onto, and it is impossible to use my old method with pencil.

Bjarne 





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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> The teachers expect me to get my theology right just
> like the men! I think engineers may have more trouble with the concept.

Well, think of it this way: engineers are very, very typical "boys", usually
(I mean, cars, hockey, start trek and programming kind of guy)... A girl who
isn't girly is very disorienting to them. They don't know what to make of us
:-) Well, they don't know what to make of *me*, in any case :-) I fare
better in my language courses :-)
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Subject: Re: [h-cost] For those with a big purse
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Wow.
I wish I could have just a *photocopy* of that!

----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Wednesday, February 11, 2004 9:25 PM
Subject: [h-cost] For those with a big purse


Go look at this auction on ebay:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3585180652&category=29220

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
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From h-costume-bounces@indra.com  Thu Feb 12 17:57:25 2004
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I missed the beginning of this thread . . . but speaking as the daughter 
of an engineer (nuclear reactors and other power sources), the sister of 
an engineer (OK, he defected and became a lawyer but he got his BA at 
MIT), the wife of an engineer (computer programmer), the former coworker 
of many engineers (programmers, system admins, and hardware designers), 
and, in my early college days, a dating magnet for guys who carried 
stacks of punch cards around campus. . .

Engineeers don't like girly girls.  They like women who are like them, 
whether engineers or not. Logical, straightforward, practical, and not 
overly sensitive to comments about how ignorant the woman is about some 
technical (or other!) subject, which comments they regard as merely 
factual and which are not designed to wound.  They expect to take women 
at face value, no game playing.  While they do not necessarily object to 
things like pretty clothes, regarding it as a woman's right to wear (or 
sew)  them if she wishes, they usually don't give a damn about them.  My 
husband once made the ultimate comment in this regard.  Which is, who 
cares what I wear because it's all going to come off anyway.

Fran
Books on Historic Costuming
http://www.lavoltapress.com



Audrey Bergeron-Morin wrote:

>>The teachers expect me to get my theology right just
>>like the men! I think engineers may have more trouble with the concept.
>>    
>>
>
>Well, think of it this way: engineers are very, very typical "boys", usually
>(I mean, cars, hockey, start trek and programming kind of guy)... A girl who
>isn't girly is very disorienting to them. They don't know what to make of us
>:-) Well, they don't know what to make of *me*, in any case :-) I fare
>better in my language courses :-)
>_______________________________________________
>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 Feb 12 18:32:03 2004
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Subject: [h-cost] Help!! Musty smelling dress
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Hello list!

I lent a friend one of my dresses a while ago and when she returned it to
me, it had an overwhelming musty smell to it.

The problem is that I can't seem to get the smell out.  It is a fancy
dress that I can't really wash in the washer.  I tried putting it out in
the sun and tumbling it in the drier.  But to no avail.  Does anyone have
any suggestions on what else I can try?

Thanks for your help!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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Wow, does this ever describe my husband, (degree in electrical 
engineering), and his dad ( three engineering degrees)!

Katie, who is absolutely amazed that Hubby will let her dress him up in SCA 
garb (obligatory costume content)


>Engineeers don't like girly girls.  They like women who are like them, 
>whether engineers or not. Logical, straightforward, practical, and not 
>overly sensitive to comments about how ignorant the woman is about some 
>technical (or other!) subject, which comments they regard as merely 
>factual and which are not designed to wound.  They expect to take women at 
>face value, no game playing.  While they do not necessarily object to 
>things like pretty clothes, regarding it as a woman's right to wear (or 
>sew)  them if she wishes, they usually don't give a damn about them.  My 
>husband once made the ultimate comment in this regard.  Which is, who 
>cares what I wear because it's all going to come off anyway.



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Bjarne og Leif Drews wrote:

> Hi.
> Just wanted to ask if any of you ever tryed to use rice paper as transfers of patterns onto fabric. Someone told me i could do that just transferring the pattern to rice paper, and then put the rice paper onto the fabric and then embroider on top of the paper. Then the paper could be removed after the embroidery has finished.
> Was thinking about trying that, as i have some ribbed silk i want to embroider onto, and it is impossible to use my old method with pencil.
> 

I think it depends on the rice paper. The ones I have seen are too thick 
for that, but here in the US you can get very thin tracing paper or 
vellum paper which will work like that.

The only problem then is that you have paper under your embroidery, 
which can discolor with age or release acids that might harm your work.



Dawn




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Date: Thu, 12 Feb 2004 15:44:09 -0800 (PST)
From: Jen Small <jenrsmall@yahoo.com>
Subject: Re: [h-cost] Help!! Musty smelling dress
To: Historical Costume <h-costume@indra.com>
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Febreeze spray saved some funky dresses of mine that I didn't unpack after Pennsic.  They're not washable either...

Diana Habra <dch@inreach.com> wrote:Hello list!

I lent a friend one of my dresses a while ago and when she returned it to
me, it had an overwhelming musty smell to it.

The problem is that I can't seem to get the smell out. It is a fancy
dress that I can't really wash in the washer. I tried putting it out in
the sun and tumbling it in the drier. But to no avail. Does anyone have
any suggestions on what else I can try?

Thanks for your help!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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Subject: Re: [h-cost] Help!! Musty smelling dress
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Tried spritzing it with Fabreze?

Arlys

On Thu, 12 Feb 2004 15:29:56 -0800 (PST) "Diana Habra" <dch@inreach.com>
writes:
> Hello list!
> 
> I lent a friend one of my dresses a while ago and when she returned 
> it to
> me, it had an overwhelming musty smell to it.
> 
> The problem is that I can't seem to get the smell out.  It is a fancy
> dress that I can't really wash in the washer.  I tried putting it 
> out in
> the sun and tumbling it in the drier.  But to no avail.  Does anyone 
> have
> any suggestions on what else I can try?
> 
> Thanks for your help!
> 
> -- 
> 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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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] Re: smart women
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Amen on that.

In Hubby-the-Engineer's world, languages, history, geography, etc. have no 
value because their value cannot be quantified. Recently, I have been 
pushing towards more costume / history oriented movies to rent and he (who 
controls the control) has become accustomed to stopping the movie to ask me 
a question and to me blurting 'STOP' so that I can explain something that I 
*know* he knows nothing about. The depth of his ignorance in 
non-engineering topics is astounding!

Maybe I could tell him that the garb that I want to make for him is just 
like Leonardo da Vinci (great engineer, right?) would have worn ... <g>

Katie


>Well, they don't know what to make of *me*, in any case :-) I fare
>better in my language courses :-)



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Cynthia J Ley wrote:

> Tried spritzing it with Fabreze?
> 

I would be wary of Febreeze, as I have used it in the past and it has 
left spots that turn brown about 3 months afterward. I didn't mind so 
much on the bathroom wall, I could wipe it off, but I'd be upset if it 
was a fancy dress.

What is the dress made out of? I recently brought home a completely 
beaded and sequinned evening gown from the thrift shop that reeked of 
cigarette and body odour, and was able to clean the smell off by 
swishing it gently in a tub of cool water with a mild soap. Then I dried 
it on towels.



Dawn



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I think then the option would be to turn the dress inside out and spray.
Also my stuff gets stored with cedar bags and camphor. A plain airing on the
line would also work most esp in this cold weather. The sun is the best of
all cleaners we have at our disposal.

B~
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, February 12, 2004 7:26 PM
Subject: Re: [h-cost] Help!! Musty smelling dress


> Cynthia J Ley wrote:
>
> > Tried spritzing it with Fabreze?
> >
>
> I would be wary of Febreeze, as I have used it in the past and it has
> left spots that turn brown about 3 months afterward. I didn't mind so
> much on the bathroom wall, I could wipe it off, but I'd be upset if it
> was a fancy dress.
>
> What is the dress made out of? I recently brought home a completely
> beaded and sequinned evening gown from the thrift shop that reeked of
> cigarette and body odour, and was able to clean the smell off by
> swishing it gently in a tub of cool water with a mild soap. Then I dried
> it on towels.
>
>
>
> Dawn
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: smart women
Date: Thu, 12 Feb 2004 17:48:49 -0600
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Completely off the mark in regard to my ex-husband. He wanted me to stay at
home, cook and clean for him, and basically wait on him hand and foot. He's
got a Masters in Mechanical Engineering and a Doctorate in Robotics.

T.

> >Engineeers don't like girly girls.  They like women who are like them,
> >whether engineers or not.

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To: h-costume@indra.com
Date: Thu, 12 Feb 2004 18:30:46 -0600
Subject: Re: [h-cost] Help!! Musty smelling dress
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I have found that a good spritzing with cheap vodka (or other grain
alcohol) can kill of many, many nasty odors. It's one of the things we
use at Bristol to get some seriously funky body smells out of our outfits
which generally don't wash very easily. It also has the benefit of not
leaving a scent of it's own after it's all evaporated.


Karen

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Maybe you could also point out that we aren't used to wearing corsets, so 
perhaps we find them more uncomfortable because we haven't grown up wearing 
them.



Nancy Kiel
nancy_kiel@hotmail.com
Never tease a weasel!
This is very good advice.
For the weasel will not like it
And teasing isn't nice.





>From: Carolyn Kayta Barrows <kayta@frys.com>
She tells us that corsets, which
>she insists the woman docents wear, are necessarily uncomfortable because 
>hers, not made by her, is uncomfortable (I amazed her by reaching over and 
>touching my toes while wearing mine, which I had made).

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I believe it was on this list in the past, that I learned one could try 
a spritz bottle with half-and-half cheap vodka and water, to get rid of 
such odors.

I'd try a drop on an inside seam first, just in case, though.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Wool shampoo
Date: Thu, 12 Feb 2004 15:27:13 -0700
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Funny, I wash my horses with human shampoo and conditioner.  I even use
T-gel on my flaky one....works great.  What is that stuff that comes in a
jar that everyone used to use on their white animals???  Can't remember the
name....I might even have some... Corvus or something?

-----Original Message-----
 
Subject: [h-cost] Wool shampoo

I thought those of you that use Horse shampoo for washing their woolens and
silks may find this amusing.

A friend of ours has a couple of horses. What does she use to wash them? A
locally available PH-Neutral Wool wash! Does well for their dog too.

Makes sense to me.

Glenda.

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Subject: Re: [h-cost] rice paper
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In a message dated 2/12/2004 4:50:08 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:
Just wanted to ask if any of you ever tryed to use rice paper as transfers of 
patterns onto fabric. Someone told me i could do that just transferring the 
pattern to rice paper, and then put the rice paper onto the fabric and then 
embroider on top of the paper. Then the paper could be removed after the 
embroidery has finished.
There are also tear-away stabilizers that are especially made for this 
purpose, and would probably tear away more easily than the paper would.
Ann Wass
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
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>You leave this group and start your own. [Why do you want to stay there?]

1901 is about my favorite year for living history and for costumes.  They 
have the site and I don't have the money to rent a different one.

>....just make your own stuff the best. Make everyone want to look like you 
>and then
>politely offer to do so. Only challenge her assessment when it directly
>concerns you and back up your assertion with research. Always be polite.

Her assertions directly concern what she will allow me to wear.  This means 
I am continually re-designing my next outfit.  I am the only one in the 
group who sews my own stuff, my boss included, but I really hate sewing, 
which makes me unsuited to doing it for other people.  And their costume 
budget just went away, so there's no money to pay a costumer anyway.

About a year ago I gave the boss a cd with images of dozens of fashion 
plates from contemporary fashion magazines and surviving costumes and 
accessories from this period.  Now, a year later, she says she has never 
looked at it.  Hey - I tried to be helpful...

>Wait...docents...are you getting paid?

We're all volunteers.

-snip-

>      By saying you can't use bright colors, maybe she's protecting the 
> program
>against someone showing up in neon tones.

All the other docents had their costumes provided, back when they had a 
budget.  I'm the first docent who has offered to make all my own stuff (and 
keep it afterwards).  I don't know what they will do if they get any new 
living history docents.

>      As far as the non-period conversation, that may be worth a 
> confrontation
>with the group.  Is there a meeting where you could bring it up?  You don't
>need to cite any individuals, but say that there has been some modern talk in
>front of visitors.  That, as well as some activities (drinking soda out of a
>can, visibly using a camera) make the interpretors look really foolish.
>Visitors love to catch them at it, and we see plenty of photos in the 
>paper of
>someone doing that. (It's infuriating when most of the reenactors are 
>being so
>careful!)

Good suggestion.  I'll have to try that.

>      What is the boss's argument against first person?

She claims it "doesn't work", and says we aren't to do it, end of 
story.  Some of the newer docents, who have come from places like Dickens' 
Fair, where we take workshops to learn to make it work, know how to make it 
work.  About half of older docents are not in practice, the boss included, 
so the boss says nobody is to do it.  (The other half of the older docents 
are perfectly willing to 'play' with me in first person, like the idea, and 
do it with me when the boss isn't around.)

There are also non-costumed non-living-history docents at this site.  There 
are many ways to get a non-costumed docent to answer questions our 
historical characters can't.  In fact, this idea was brought up at a 
meeting last year, where some of us were trying to present first-person 
living history as do-able.  She vetoed it.

-snip-

>Maybe you could press her to write up what sufficient documentation is in 
>her eyes?  Then use that "ruler" to show her there are things that would 
>be better choices?

She still isn't prepared for docents who make their own clothes, after a 
year of us being there.  There used to be a costumer, of some local 
reputation, doing all their costumes for them, back when they had a 
budget.  I think the boss took her word on everything (the current costumes 
are pretty good) and would revert to bad re-enactorisms if left to generate 
her own guidelines.  And I don't think she'd let any of us docents help her 
generate such guidelines - she's really into being the boss.

-snip-

>When I was researching the early medical school classes here at Creighton
>some years ago, I came across a photo in a 1901 med school bulletin, showing
>off one of the classrooms of 1900(it was most definately taken in 1900!)and
>what I noticed first is that the two female students(yes, more women were in
>medical schools from 1890-1920 than you might think!)wore bodices and
>sleeves definately not the denier cri of 1900. One wore a shirtwaist with a
>bodice and sleeve style au courant in 1897 while the other wore a plaid
>dress with the balloon sleeves of 1894-5. So I would say photographs of
>1900-1901 would be your best source as you know, although a formal
>photograph with the subjects posed in their best dress would not be final
>evidence of what they wore day-to-day.

I could believe leftover 1894 sleeves in 1900, especially on a 
student.  I've probably got some informal photos of my own which could show 
that much fashion lag c.1900.  But I just don't believe bustle dresses in a 
big city like San Francisco in 1901, which the boss seems to think is 
perfectly acceptable.

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

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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: RE: [h-cost] Wool shampoo
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It's Orvus.  Distributed as a horse shampoo and used by quilters for 
washing their quilts.  It's pure detergent, no additives.  Great stuff.
Joan

At 03:27 PM 2/12/2004 -0700, you wrote:
>Funny, I wash my horses with human shampoo and conditioner.  I even use
>T-gel on my flaky one....works great.  What is that stuff that comes in a
>jar that everyone used to use on their white animals???  Can't remember the
>name....I might even have some... Corvus or something?
>
>-----Original Message-----
>
>Subject: [h-cost] Wool shampoo
>
>I thought those of you that use Horse shampoo for washing their woolens and
>silks may find this amusing.
>
>A friend of ours has a couple of horses. What does she use to wash them? A
>locally available PH-Neutral Wool wash! Does well for their dog too.
>
>Makes sense to me.
>
>Glenda.

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Bjarne,
 
What I have used in the past is a thoroughly modern supply, but it works on fabrics that can't be marked. In my case, I needed a very long repeating pattern on a slightly curved hem. I use either tear-away (also self-stick varieties as well, but heavier thickness) embroidery paper if the embroidery can handle a bit of a tug, or water-soluable embroidery film if it can't. In the latter case, if the fabric can handle a dip in water (no agitation) it's better since it won't leave a layer under the stitches, but if not, a damp sponge will take care of the tiny bits sticking out after the film is torn off - which should not seriously affect the stitching. In either case, you trace your pattern onto the film or paper then stitch right through it. It's designed for machine embroidery, but works for handstitching as well. Make sure that if you get the tear away paper that its the lightest weight available so that it's not murder trying to get a hand needle through it. I found this a!
  fast
 solution to trying to fudge a curved-hem embroidery into place without having to draw very single repeat in a different size till everything fit. Pin, adjust, pin, fold the pattern slightly, pin - 15 minutes time, tops. 

From: "Bjarne og Leif Drews" 
Subject: [h-cost] rice paper

Hi.
Just wanted to ask if any of you ever tryed to use rice paper as transfers of patterns onto fabric. Someone told me i could do that just transferring the pattern to rice paper, and then put the rice paper onto the fabric and then embroider on top of the paper. Then the paper could be removed after the embroidery has finished.
Was thinking about trying that, as i have some ribbed silk i want to embroider onto, and it is impossible to use my old method with pencil.

Bjarne 





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Maybe that's because I was going to school with 19-yr-old males :-)

> Completely off the mark in regard to my ex-husband. He wanted me to stay
at
> home, cook and clean for him, and basically wait on him hand and foot.
He's
> got a Masters in Mechanical Engineering and a Doctorate in Robotics.
>
> T.
>
> > >Engineeers don't like girly girls.  They like women who are like them,
> > >whether engineers or not.
>
> _______________________________________________
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Helen Pinto wrote:

>Have you considered making pockets which are completely supported by the
>waistband?  Sort of a truncated tear-drop shape with a vertical slit
>opening, and reached via an opening in the side seams.  You could make them
>as deep as necessary and place them on the waistband where they wouldn't be
>too lumpy.  I remember seeing something similar in 18th c and earlier; the
>pockets were worn on a belt over the petticoat, but under the skirt.
>                                  -Helen/Aidan
>
>
>  
>
Yes! That's what I meant by hanging pockets

liz young

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Subject: Re: [h-cost] Re: smart women
Date: Fri, 13 Feb 2004 14:02:57 +1100
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Well, it makes a bit of sense - maybe he was looking for a human robot!

Glenda.
----- Original Message ----- 
> Completely off the mark in regard to my ex-husband. He wanted me to stay
at
> home, cook and clean for him, and basically wait on him hand and foot.
He's
> got a Masters in Mechanical Engineering and a Doctorate in Robotics.
>
> T.

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Subject: Re: [h-cost] Help!! Musty smelling dress
Date: Thu, 12 Feb 2004 22:07:47 -0500
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Another method that sometimes works is to put it in a plastic bin with cover
and cover it with a towel.  then sprinkle some baking soda on the towel side
and cover tightly for about a week.  Or you could just put the opened box of
soda in one corner of the covered bin. I keep a lot of my rental wear in
plastic bins and add a sheet or two of 'Bounce" or other smelly laundry
sheets and they do a pretty good job over time of keeping clothgoods fresh.
Kathleen
----- Original Message ----- 
From: "Bice d'Este" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, February 12, 2004 7:24 PM
Subject: Re: [h-cost] Help!! Musty smelling dress


>
> I think then the option would be to turn the dress inside out and spray.
> Also my stuff gets stored with cedar bags and camphor. A plain airing on
the
> line would also work most esp in this cold weather. The sun is the best of
> all cleaners we have at our disposal.
>
> B~
> ----- Original Message ----- 
> From: "Dawn" <dawn@reddawn.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, February 12, 2004 7:26 PM
> Subject: Re: [h-cost] Help!! Musty smelling dress
>
>
> > Cynthia J Ley wrote:
> >
> > > Tried spritzing it with Fabreze?
> > >
> >
> > I would be wary of Febreeze, as I have used it in the past and it has
> > left spots that turn brown about 3 months afterward. I didn't mind so
> > much on the bathroom wall, I could wipe it off, but I'd be upset if it
> > was a fancy dress.
> >
> > What is the dress made out of? I recently brought home a completely
> > beaded and sequinned evening gown from the thrift shop that reeked of
> > cigarette and body odour, and was able to clean the smell off by
> > swishing it gently in a tub of cool water with a mild soap. Then I dried
> > it on towels.
> >
> >
> >
> > Dawn
> >
> >
> >
> > _______________________________________________
> > 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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Date: Thu, 12 Feb 2004 19:48:36 -0800 (PST)
Subject: Re: [h-cost] Help!! Musty smelling dress
From: "Diana Habra" <dch@inreach.com>
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Thanks to everyone for the suggestions!

> What is the dress made out of?

The dress is cotton brocade of a black & tan color.  I might try the vodka
idea, though.  My boyfriend is sensitive to odors and I think the Febreze
might not go over too well.

I also like the baking soda idea.  That will my my second choice if the
vodka doesn't work.

Thanks again!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Help!! Musty smelling dress
Date: Thu, 12 Feb 2004 23:02:36 -0500
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I've had good luck using deactivated charcoal (available in the aquarium
department at your local pet store or mega-mart).  I put the charcoal
crystals inside an old nylon stocking or piece of tulle, then put the
charcoal and the garment in a sealed plastic tub. (I make sure the charcoal
is not touching the garment.) It usually takes 2-3 days, but the deactivated
charcoal will remove any odor without damaging the fabric.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 5-7, 2004 





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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
Date: Thu, 12 Feb 2004 23:28:25 -0500
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On Thursday 12 February 2004 07:53 pm, Carolyn Kayta Barrows wrote:
[snip]
>
> I could believe leftover 1894 sleeves in 1900, especially on a
> student.  I've probably got some informal photos of my own which could show
> that much fashion lag c.1900.  

Fashion lag varies by individual; I still own--and wear--suits that I bought 
in the late 1980s.

>But I just don't believe bustle dresses in a
> big city like San Francisco in 1901, which the boss seems to think is
> perfectly acceptable.

I can believe that there would still be bustle-wearers in 1901, even in a 
bigger city than San Francisco.  What I doubt is that they would be common, 
and they certainly wouldn't be worn by fashionable women.

-- 
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: smart women
Date: Thu, 12 Feb 2004 23:32:06 -0500
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On Thursday 12 February 2004 06:48 pm, Talia wrote:
> Completely off the mark in regard to my ex-husband. He wanted me to stay at
> home, cook and clean for him, and basically wait on him hand and foot. He's
> got a Masters in Mechanical Engineering and a Doctorate in Robotics.

I daresay he did.  But I bet he didn't want you to giggle and simper and wear 
frilly pastels while you did it!

(There's a difference between what kind of women you like to interact with, 
and being selfish enough to want a wife to wait on you hand and foot.)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: [h-cost] Re: Men in skirts, and women!
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On Wednesday 11 February 2004 11:17 pm, Heather Rose Jones wrote:

> If you ever have an evening to kill and a Legally Blonde video at
> hand, you might be pleasantly surprised.  (I was.)  The movies are --
> in a rather twisted way -- very much about _not_ judging people's
> abilities or intelligence by appearance or style.  The protagonist is
> ditzy, yes, (and girly) but she succeeds because she's smart (both
> book-smart and people-smart), holds to her principles, and never
> gives up.  I was really startled to find myself thoroughly enjoying
> them -- radical femininst that I am.

I'll cheerfully take your word for it.  

I'm aware that the character actually is bright and succeeds on merit. But I 
suspect that her love of bubblegum pink would annoy me enough to distract me 
from enjoying her triumphs.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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CarolynKayta wrote:
 or if you don't
> put your wallet, all your car keys, an Altoids box, and a couple of key
> chain tool kits in your pockets.

Pockets?  We don't need no stinking pockets.
I carry an old Coach briefcase; I'll see that and raise you a flashlight,
Daytimer, cell, visegrips, tape measure...  I've been simplifying...
Really.
                      -Heen/Aidan


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I had to sit through the first movie and was expecting to hate it; I was
also pleasantly surprised- I enjoyed it.  That made me want to see the
second one; unfortunately, it's nowhere near as good, and I really disliked
it.
                -Helen/Aidan


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Subject: Re: [h-cost] disproving incorrect assertions, please advise
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> >But I just don't believe bustle dresses in a
> > big city like San Francisco in 1901, which the boss seems to think is
> > perfectly acceptable.
>
>I can believe that there would still be bustle-wearers in 1901, even in a
>bigger city than San Francisco.  What I doubt is that they would be common,
>and they certainly wouldn't be worn by fashionable women.

I too wear garments that are 10 or 20 years old, but not the ones so dated 
that they read like their original decade.  I prefer wearing those older 
garments that are sufficiently classic that they look ok in the current decade.

But the 1880s silhouette is very different from that of 1901.  So I can 
sort-of believe someone still wearing an 1880s bodice in 1901, if she was 
poor, unfashionable, or old, because the shape is sort-of similar to what 
was current.  But I think the wearer would have been remade the skirt to 
modernize it a little, (and there's certainly enough material in them for 
that) or at least worn it without the bustle understructure.  Some 
fashionable 1889 and 1890 skirts look like mid-1880s skirts that have had 
their understructures, and some of their drapery, recently removed.

But I think we're in agreement that the mid-1880s look is not the 1901 look 
my boss says she wants.


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

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Sunny, you must email me with your email-address so that i can send you the patterns.
My email is drewscph@post12.tele.dk
The issue about the copyright is, that you cant publish the original photographs i give you, but if you make some drawings after my photos and embroidery, there is no problem in putting the embroidery or your own drawing on the internet.

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: <20040213015035.83547.qmail@web12901.mail.yahoo.com>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 3, Issue 101
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Hi Kathy.
I see this is a very good idea. but the problem is that my fabric cant
endure to be soaked in water. It is a fine ribbed silk. It will spoil my
silk.
But thanks a lot for your advise.
Bjarne
----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: <h-costume@indra.com>
Sent: Friday, February 13, 2004 2:50 AM
Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 101


> Bjarne,
>
> What I have used in the past is a thoroughly modern supply, but it works
on fabrics that can't be marked. In my case, I needed a very long repeating
pattern on a slightly curved hem. I use either tear-away (also self-stick
varieties as well, but heavier thickness) embroidery paper if the embroidery
can handle a bit of a tug, or water-soluable embroidery film if it can't. In
the latter case, if the fabric can handle a dip in water (no agitation) it's
better since it won't leave a layer under the stitches, but if not, a damp
sponge will take care of the tiny bits sticking out after the film is torn
off - which should not seriously affect the stitching. In either case, you
trace your pattern onto the film or paper then stitch right through it. It's
designed for machine embroidery, but works for handstitching as well. Make
sure that if you get the tear away paper that its the lightest weight
available so that it's not murder trying to get a hand needle through it. I
found this a!
>   fast
>  solution to trying to fudge a curved-hem embroidery into place without
having to draw very single repeat in a different size till everything fit.
Pin, adjust, pin, fold the pattern slightly, pin - 15 minutes time, tops.
>
> From: "Bjarne og Leif Drews"
> Subject: [h-cost] rice paper
>
> Hi.
> Just wanted to ask if any of you ever tryed to use rice paper as transfers
of patterns onto fabric. Someone told me i could do that just transferring
the pattern to rice paper, and then put the rice paper onto the fabric and
then embroider on top of the paper. Then the paper could be removed after
the embroidery has finished.
> Was thinking about trying that, as i have some ribbed silk i want to
embroider onto, and it is impossible to use my old method with pencil.
>
> Bjarne
>
>
>
>
>
> ---------------------------------
> Post your free ad now! Yahoo! Canada Personals
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From h-costume-bounces@indra.com  Fri Feb 13 09:23:49 2004
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The question of whether women wear totally out of date garments does continue 
to rear its head, doesn't it?  I once talked to a volunteer at a 1790s site 
who didn't like those styles and wanted to continue to wear the 1770s she 
loved.  Gave the argument about being behind the times, etc.  I told her I was 
afraid that was not valid--there are too many extant examples of gowns remade in 
later styles from earlier fabrics.
Ann Wass
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In a message dated 2/13/2004 2:17:02 AM Eastern Standard Time, 
hpinto@mindspring.com writes:
I had to sit through the first movie and was expecting to hate it; I was
also pleasantly surprised- I enjoyed it.  
I enjoyed it too--saw it on an airplane, so I was a captive audience!  Sorry 
to  hear the second wasn't as good.  It seemed to have potential, but I never 
made it to that one.
Ann Wass
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From h-costume-bounces@indra.com  Fri Feb 13 09:32:01 2004
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Subject: [h-cost] Re: Help! musty smelling dress
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I believe it was on this list in the past, that I learned one could try

a spritz bottle with half-and-half cheap vodka and water, to get rid of

such odors.

I'd try a drop on an inside seam first, just in case, though.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

I may have been one of those that mentioned this, I learned about it
from a friend who sews for a local rep theater.  If I remember right,
distilled water was prefered since some areas might have harder water
than others.  No particular proportions and it was spritzed on the
inside.

We have used Frebreeze successfully on my husband's faire costumes but
we only spritzed on the inside linings which were either cotton or
linen.

While I have not tried it I have also heard cat litter can remove some
odors; put garment and (I think) loose (clean:)!) litter in a large bag
and leave for a couple of days.

Hadn't heard about the charcoal idea, sounds good, thanks.  

Do let us know what works :).

Catherine
who is still trying to picture Talia waiting on someone hand and foot. 
Not :)!
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Subject: Re: [h-cost] disproving incorrect assertions, please advise
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>The question of whether women wear totally out of date garments does continue
>to rear its head, doesn't it?  I once talked to a volunteer at a 1790s site
>who didn't like those styles and wanted to continue to wear the 1770s she
>loved.  Gave the argument about being behind the times, etc.  I told her I 
>was
>afraid that was not valid--there are too many extant examples of gowns 
>remade in later styles from earlier fabrics.

"Why can't my boss be as reasonable as you folks who actually do know what 
you're doing", she asked the list, rhetorically.

Oh well, at least I got some sympathy, and a few good suggestions.  Thanx 
all.  Maybe if I made an outfit so good that she thought it was a real 
antique, then she'd let me wear it...

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

              //// \\\
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             (((  <> ))))
                )   ((((((
           /----\   /---\))

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Subject: [h-cost] smart women and engineers and historical clothing
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 "Engineeers don't like girly girls.  They like women
 who are like them, whether engineers or not. Logical,
straightforward, practical"

Speaking as the wife, sister, niece, mother and
sister-in-law to engineers, this is true. However, my
husband looks at costuming as another facet of
understanding history. Historical costuming becomes
another exercise in engineering when you understand
what goes into it. I make all the clothes, but they
enjoy wearing them and like to understand why what
garments are appropriate to what time period. My
husband and engineer daughter are proud of their court
clothes not only because they look nice in them, they
are proud of my skills. All of them have commented
that they could never live with someone significantly
less intelligent/logical than they were. 

=====
Seńora Catalina
Aurum peccamenes multifariam texit


	
	
		
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Subject: Re: [h-cost] disproving incorrect assertions, please advise
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Hey! That's a great idea!!! Why don't you reproduce an actual dress from
the period that you like either by finding a fashion plate and doing that
or by reproducing a surviving gown? 1901 is not so far in the past that
surviving examples are rare. Let her tell you that an exact (or as exact
as you can get) reproduction isn't appropriate to wear!!


Karen


On Fri, 13 Feb 2004 06:40:34 -0800 Carolyn Kayta Barrows <kayta@frys.com>
writes:
> Oh well, at least I got some sympathy, and a few good suggestions.  
> Thanx  all.  Maybe if I made an outfit so good that she thought it was
a 
> real  antique, then she'd let me wear it...
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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Subject: Re: [h-cost] disproving incorrect assertions, please advise
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Status: RO

And if you are pattern reliant like I tend to be may I recommend:
http://www.pastpatterns.com/106.html
http://www.pastpatterns.com/112.html
http://www.pastpatterns.com/4879.html
http://www.pastpatterns.com/1865.html

If you need more let me know. You have my dream job even with all it's
failings and I'd be happy to help.

B~
----- Original Message ----- 
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Cc: <h-costume@indra.com>
Sent: Friday, February 13, 2004 9:51 AM
Subject: Re: [h-cost] disproving incorrect assertions, please advise


> Hey! That's a great idea!!! Why don't you reproduce an actual dress from
> the period that you like either by finding a fashion plate and doing that
> or by reproducing a surviving gown? 1901 is not so far in the past that
> surviving examples are rare. Let her tell you that an exact (or as exact
> as you can get) reproduction isn't appropriate to wear!!
>
>
> Karen
>
>
> On Fri, 13 Feb 2004 06:40:34 -0800 Carolyn Kayta Barrows <kayta@frys.com>
> writes:
> > Oh well, at least I got some sympathy, and a few good suggestions.
> > Thanx  all.  Maybe if I made an outfit so good that she thought it was
> a
> > real  antique, then she'd let me wear it...
> >
> >         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
> >
> >
>
> ________________________________________________________________
> 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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For a start you can look at these patterns to see if there is anything
you like.


http://www.pastpatterns.com/1900.html


Karen

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In a message dated 2/13/2004 9:58:26 AM Eastern Standard Time, 
wantstobecorsetted1@hotmail.com writes:

> http://www.pastpatterns.com/106.html
> 

This pattern sux! Don't get it! It is not what is pictured on the envelope.
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Date: Fri, 13 Feb 2004 16:37:39 +0100
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Sunny Buchler.
If you email me your address, i shall send the patterns for you.
My email is: drewscph@post12.tele.dk
 





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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To: "Historical Costume" <h-costume@indra.com>
References: <147.22179ef3.2d5e4391@aol.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
Date: Fri, 13 Feb 2004 10:24:19 -0500
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Well I've used it sorry you had problems with it.

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Friday, February 13, 2004 10:13 AM
Subject: Re: [h-cost] disproving incorrect assertions, please advise


> In a message dated 2/13/2004 9:58:26 AM Eastern Standard Time,
> wantstobecorsetted1@hotmail.com writes:
>
> > http://www.pastpatterns.com/106.html
> >
>
> This pattern sux! Don't get it! It is not what is pictured on the
envelope.
> _______________________________________________
> 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 Feb 13 10:43:31 2004
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <200402102208.44052.cathy@thyrsus.com><200402101900.i1AJ0Xl6034165@net.indra.com><001f01c3f02f$3f0d47f0$9865fea9@VAIO><200402102208.44052.cathy@thyrsus.com><4.3.1.2.20040212000936.051f2930@mail.frys.com>
	<021101c3f143$038ab270$92e34a43@HELENPINTO>
Subject: Re: [h-cost] Now "Legally Blonde"
Date: Fri, 13 Feb 2004 06:13:42 -0800
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I think the basic problem with sequels is that in the first book or episode
a character has a certain flaw to overcome, perhaps insecurity, ability to
trust, find love etc and the events of the story assist the protagonist in
overcoming this and all ends well.  In stories such as legally blonde two
and the second book of Bridget Jones' Diary the Elle and Bridget revert back
to their old ways in the beginning of the new episodes and it's as if they
made some psychological digression and it's very disappointing.  They need
new challenges not a re-hashing of old demons or what was the point of their
success in the first installment????

Lisa



----- Original Message -----
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, February 12, 2004 12:34 AM
Subject: [h-cost] Now "Legally Blonde"


> I had to sit through the first movie and was expecting to hate it; I was
> also pleasantly surprised- I enjoyed it.  That made me want to see the
> second one; unfortunately, it's nowhere near as good, and I really
disliked
> it.
>                 -Helen/Aidan
>
>
> _______________________________________________
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In a message dated 2/13/2004 10:42:02 AM Eastern Standard Time, 
wantstobecorsetted1@hotmail.com writes:

> Well I've used it sorry you had problems with it.
> 

You think the pattern looks like what is on the envelope????
I'm sure it works and is even a true period pattern, but I bought it because 
of that was pictured on the envelope, and that isn't what I got.

I did find a real corset that looks like the envelope picture and made my own 
pattern from it. Would you like one [since you obviously "do" this period]?
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Subject: [h-cost] Re: rice paper 
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In a message dated 2/13/2004 9:04:39 AM Central Standard Time, 
h-costume-request@indra.com writes:
Just wanted to ask if any of you ever tryed to use rice paper as transfers
of patterns onto fabric. Someone told me i could do that just transferring
the pattern to rice paper
I haven't done this but I do have a suggestion.  I think it depends on the 
kind of rice paper you use.  I use a type of rice paper that is for lining cloth 
daipers.  I think that kind would be the okay to use, it doesn't take much to 
tear it, it is thin and it is very see through.  I got mine at Earthbaby:  
http://earthbaby.com/  
  My mom used to decorate cakes for a living.  She used a rice paper to trace 
designs on then decorate the paper.  That rice paper tears real easily, is 
softer and I think it might work also.  I know she just got it from the cake 
shop.  I think Wiltons might sell it online.  
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Subject: Re: [h-cost] Re: rice paper 
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Hi Bjarne,

     Would you tell us why pencilling the design onto the fabric would not 
work?  Is it because the silk has ridges?  I think you said it was faille?  I 
wonder if you could pencil on enough to see what you are doing, even if it's 
not as complete and perfect as when you mark the design onto smooth fabric.

     With the fine threads and delicate stitches, I would be concerned that 
tearing away the rice paper would distort the embroidery stitches.

     Another idea is to thread trace the designs - run a thread instead of 
marking with a pencil.  This could define the shapes of the major motifs, 
though again you would not mark the small details.  You could embroider over 
the thread trace, or remove it afterward.  I don't think it would disturb the 
embroidery as much as tearing away the paper would do.

     -Carol

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Subject: Re: [h-cost] Re: rice paper
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M311@aol.com wrote:

> I haven't done this but I do have a suggestion.  I think it depends on the 
> kind of rice paper you use.  I use a type of rice paper that is for lining cloth diapers

Oh, right!  Check what sort of thing you are talking about, and English 
may have different meanings than what is available in your area, Bjarne. 
  "Rice paper" most commonly here in the US is a paper with lots of 
swirly fibers in it and somewhat translucent, very pretty, but has very 
little to do with rice at all!  Then there are rice wrappers, used in 
asian foods, and apparently the stuff for diapers, and probably lots of 
other things called "rice paper."

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Fear of the number thirteen: triskaidekaphobia
fear of Friday the 13th: paraskevidekatriaphobia
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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] disproving incorrect assertions, please advise
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I'm not sure where you had the trouble with this pattern. Was it sizing? Was
it style? Instructions? I've used this one and many of Saundra Altman's
other patterns and hope to carry them on my website by summer. I'm always
willing to hear problems people may have with a certain pattern to decided
whether I should carry it on my site or not. I even test them myself on
occasion. I don't "do" this period often but I do it often enough to have a
number of patterns of this era. I tend to veer towards late Victorian and in
fact recently suggested someone interested in the time line do the 1880's
polonaise pattern put out by this company.

B~

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Friday, February 13, 2004 10:48 AM
Subject: Re: [h-cost] disproving incorrect assertions, please advise


> In a message dated 2/13/2004 10:42:02 AM Eastern Standard Time,
> wantstobecorsetted1@hotmail.com writes:
>
> > Well I've used it sorry you had problems with it.
> >
>
> You think the pattern looks like what is on the envelope????
> I'm sure it works and is even a true period pattern, but I bought it
because
> of that was pictured on the envelope, and that isn't what I got.
>
> I did find a real corset that looks like the envelope picture and made my
own
> pattern from it. Would you like one [since you obviously "do" this
period]?
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Then there is cosmetic rice paper with a fine powder on it used to get the
glare off one's nose.
----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1092242774.7d323a@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, February 13, 2004 11:49 AM
Subject: Re: [h-cost] Re: rice paper


> M311@aol.com wrote:
>
> > I haven't done this but I do have a suggestion.  I think it depends on
the
> > kind of rice paper you use.  I use a type of rice paper that is for
lining cloth diapers
>
> Oh, right!  Check what sort of thing you are talking about, and English
> may have different meanings than what is available in your area, Bjarne.
>   "Rice paper" most commonly here in the US is a paper with lots of
> swirly fibers in it and somewhat translucent, very pretty, but has very
> little to do with rice at all!  Then there are rice wrappers, used in
> asian foods, and apparently the stuff for diapers, and probably lots of
> other things called "rice paper."
>
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
>
> Fear of the number thirteen: triskaidekaphobia
> fear of Friday the 13th: paraskevidekatriaphobia
> _______________________________________________
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>
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>ineers or not. Logical,
>straightforward, practical"
>
>Speaking as the wife, sister, niece, mother and
>sister-in-law to engineers, this is true. However, my
>husband looks at costuming as another facet of
>understanding history. 
>  
>
So does mine.  But that has nothing to do with whether I am a "girly 
girl"--which I am not.

Fran
Books on Historic Costuming
http://www.lavoltapress.com


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I am reminded of a guy I was dating - when I mentioned that I was "not a
girly-girl", he replied "Oh, I know you're a  girl - I checked!".

Wendy Z
giggling in
Chicago, IL
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Subject: [h-cost] Hussars (early 19th century)
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Can anyone give me some leads to online information about Hussars
uniforms in the early 19th century?  I'm writing something involving a
character attached to the Swedish military and during the Napoleonic
wars, who is described (by the person who created the original
character) as wearing one, but I'm not quite sure what that entails.  So
far I've managed to figure out that there's decorative braid on the
jacket, and a silly hat :)

K.
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] danish peassant costume reconstrukted
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Hi.
I stumbled over this and thoaght i would share it with you.
Very fine made rekonstrukted peassant costumes for folkdansers.
http://www.lisbeth-green.dk/FOTO/photo.htm





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From h-costume-bounces@indra.com  Fri Feb 13 15:01:39 2004
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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] Re: girly-girls
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I'm curious about what constitutes a girly-girl.

I'm a heavy-duty gardener; my last big project was digging a 70' long 
drainage ditch deeper than I am tall, putting in the drainpipe and water 
lines, and covering it up. It had to be done by hand because there was no 
way to get excavation machinery to the location. My current project is 
digging out the top 2' of the front yard, carting the adobe-clay in my 
commercial-strength trailer (a birthday present from Hubby!) to a waste 
site, putting in an irrigation system, and replacing the soil with wood 
chips that will become wonderous compost-soil in a couple years. Then the 
hundreds of roses will have a permanent home.

BUT -- I also like to wear long skirts and pretty dresses inside the house. 
I even like having to pull up my long skirts when climbing the stairs!

I don't think I'm a girly-girl if it means being a simpering twit, but I do 
like to be feminine. Of the two, I think Hubby likes my gardening more than 
my looking pretty when he comes home from work <sigh>. However, he does 
brag about my zuppa toscana and chicken fricasee ...

Katie

At 01:19 PM 2/13/2004 -0600, you wrote:
>I am reminded of a guy I was dating - when I mentioned that I was "not a
>girly-girl", he replied "Oh, I know you're a  girl - I checked!".
>
>Wendy Z
>giggling in
>Chicago, IL



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From h-costume-bounces@indra.com  Fri Feb 13 15:39:28 2004
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Greetings,

I just had to share this with folks who would get it.  :D  I stopped in 
my local Mac computer store to get ink cartridges.  I was waiting at 
the register and glanced over at the "New Gizmos" table.  I saw a 
digital microscope hooked up to an ibook.  I got a glint in my eye and 
asked the cashier to demo it for me.  Big Mistake.  lol

I now have a digital microscope that can go up to 50x and I can burn 
the images right to CD.  Tres facile!  :D :D :D  I got the 50x lens, 
with variable field of focus for $198.  The whole kit with several lens 
up to 200x costs about $700.  A bit rich for my blood, but something to 
consider after I marry wealthy.

I can't wait to try it out.  It's on order and should be here in a 
couple weeks.  Oh, it will be fun to take to museums this summer.  :D

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

Public Relations Manager
Sauron/Voldemort 2004
"One Bling to rule them all"

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Date: Fri, 13 Feb 2004 21:00:37 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: Men in skirts, and women!
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In message <200402122337.24530.cathy@thyrsus.com>, Catherine Olanich 
Raymond <cathy@thyrsus.com> writes
>On Wednesday 11 February 2004 11:17 pm, Heather Rose Jones wrote:
>
>> If you ever have an evening to kill and a Legally Blonde video at
>> hand, you might be pleasantly surprised.  (I was.)  The movies are --
>> in a rather twisted way -- very much about _not_ judging people's
>> abilities or intelligence by appearance or style.  The protagonist is
>> ditzy, yes, (and girly) but she succeeds because she's smart (both
>> book-smart and people-smart), holds to her principles, and never
>> gives up.  I was really startled to find myself thoroughly enjoying
>> them -- radical femininst that I am.
>
>I'll cheerfully take your word for it.
>
>I'm aware that the character actually is bright and succeeds on merit. But I
>suspect that her love of bubblegum pink would annoy me enough to distract me
>from enjoying her triumphs.  :-)
>
I'm going nuts looking at this spring's fashion - everything's bloomin' 
pink!!! Now, OK, I'm red haired so pink is never going to be my best 
colour, but I just cannot understand why any adult woman would want to 
wear pink in these quantities.  Eeeeugh!

Sorry.  Thanks for letting me vent.

Jean

-- 
Jean Waddie
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As I keep telling Hubby ... fashion and style have nothing to do with 
attractiveness and taste. All you have to do is look at some of the 
teenagers these days. A couple days ago I saw a young guy -- the crotch of 
his pants was almost down to his knees and he had to hold his crotch-seam 
up in order to walk!

Tall and blonde, I wear a lot of pink tops and blue jeans with a high 
waist, even though I am in my late 50s. Put me in a blue top and my color 
completely washes away.

Better yet, long circle-skirts that are lined so that they make swishing 
sounds when I walk ...

For me, ready-to-wear rarely fits well anyway, so if I'm gonna sew, I'm 
gonna sew what *I* like.

To heck with fashion!

Katie


>I'm going nuts looking at this spring's fashion - everything's bloomin' 
>pink!!! Now, OK, I'm red haired so pink is never going to be my best 
>colour, but I just cannot understand why any adult woman would want to 
>wear pink in these quantities.  Eeeeugh!



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Subject: Re: [h-cost] Hussars (early 19th century)
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In a message dated 2/13/2004 2:51:25 PM Eastern Standard Time, 
skud@infotrope.net writes:
Can anyone give me some leads to online information about Hussars
uniforms in the early 19th century?  
"Age of Napoleon" (catalogue from exhibit at the Met) has a chapter on 
military uniforms, including Hussars.  "Revolution in Fashion" also has a Hussar 
uniform in the back, as explanation for the "a la Hussar" style for women.

Ann Wass
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: rice paper 
Date: Fri, 13 Feb 2004 17:05:36 -0500
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This is the method that I used when I was working on y daughters wedding
gown.  My problem at that time was #1, the fabric was shantung and of
course, slubbed. And #2, I had trouble finding the dainty design or transfer
that suited the project.  Solution for the design was found in a book of
ribbon embroidery.  Except, we wanted traditional needlework.  I 'threaded
the basic design on the fabric, marking the places for the larger motifs.
Initially, it was a pain when I started, but as the work went along, I was
gratified that the intricacies worked up well with great uniformity.
Kathleen
----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, February 13, 2004 11:33 AM
Subject: Re: [h-cost] Re: rice paper


>
> Hi Bjarne,
>
>      Would you tell us why pencilling the design onto the fabric would not
> work?  Is it because the silk has ridges?  I think you said it was faille?
I
> wonder if you could pencil on enough to see what you are doing, even if
it's
> not as complete and perfect as when you mark the design onto smooth
fabric.
>
>      With the fine threads and delicate stitches, I would be concerned
that
> tearing away the rice paper would distort the embroidery stitches.
>
>      Another idea is to thread trace the designs - run a thread instead of
> marking with a pencil.  This could define the shapes of the major motifs,
> though again you would not mark the small details.  You could embroider
over
> the thread trace, or remove it afterward.  I don't think it would disturb
the
> embroidery as much as tearing away the paper would do.
>
>      -Carol
>
> _______________________________________________
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>

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Subject: Re: [h-cost] Hussars (early 19th century)
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All three films of War and Peace have lots of various uniforms that probably
include Hussars.  I suspect that the basic shape is the same for the
particular colors would be important as would the frogging and other trim.
Kathleen
----- Original Message ----- 
From: "Kirrily Robert" <skud@infotrope.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, February 13, 2004 2:50 PM
Subject: [h-cost] Hussars (early 19th century)


> Can anyone give me some leads to online information about Hussars
> uniforms in the early 19th century?  I'm writing something involving a
> character attached to the Swedish military and during the Napoleonic
> wars, who is described (by the person who created the original
> character) as wearing one, but I'm not quite sure what that entails.  So
> far I've managed to figure out that there's decorative braid on the
> jacket, and a silly hat :)
>
> K.
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>

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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Help! musty smelling dress
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Bookbinders use charcoal and kitty litter to remove musty smells from books;
I think it would work with the dress.  You will need two containers- a small
one without a lid to hold the dress and a larger one with a lid to hold the
first one and the charcoal/kitty litter.  Put the large container where it
won't be disturbed, and fill it with a layer of charcoal/kitty litter.  Put
the dress in the smaller one, rest it on top of the charcoal/kitty litter,
and seal the lid.  Check it every couple of days, and re-fold the dress so
another part is on top.  It should lose the odor in about a week.
                       -Helen/Aidan


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In a message dated 2/13/2004 5:05:40 PM Eastern Standard Time, 
rmitchell@washjeff.edu writes:
So
> far I've managed to figure out that there's decorative braid on the
> jacket
Also lots of decorative braid on the pantaloons.
Ann Wass
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
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>And if you are pattern reliant like I tend to be may I recommend:
>
>http://www.pastpatterns.com/4879.html

Since this is the middle of my favorite period, I already have a 
comfortable straight-front corset made, plus basic skirt and basic 
shirtwaist patterns.  And Janet Arnold III has a couple more patterns from 
the period.  I also have a couple of skirts and shirtwaists made up.

Thanx everybody for the encouragement.  I think my next Edwardian project 
will be copying the c.1898 bodice I own, which will need to be re-created 
at twice it's original size so it will fit me.  The front of the bodice has 
a black beaded sheer panel that hangs over a pouch-front panel of startling 
chartreuse velvet.  The rest of the fabric is mostly maroon, woven with 
raised elements in black.  There are bright green silk cuff facings that 
don't show from the outside, and the rest of the lining is brown glazed 
cotton.  I have maroon fabric and velvet for the re-creation, tho if I 
could find more of that bright chartreuse silk velvet I'd use that.  If my 
boss doesn't like that, when I wear one and hand her the other, I may well 
drop out of the program.

>If you need more let me know. You have my dream job even with all it's
>failings and I'd be happy to help.

Thanx for pointing me toward those patterns.  I may buy myself that 4879, 
even tho I will have to seriously size it up to fit.  But I don't think 
unpaid volunteer docent is anyone's dream job, especially at lunch and 
parking prices in San Francisco.

Another thing my boss doesn't understand is how anyone would want to go off 
site in costume to eat lunch.  I delight in doing this, in first person if 
I can.  So now that our budget and our attendance are down, I will take 
fliers with me next time, so people in the area can find our site.  (I 
finally got her to say if anyone wanted to do this they could, because she 
sure wasn't going anywhere she didn't have to in the uncomfortable corset 
she wears.)

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

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] swedish hussards
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I tryed to search in swedish and i only found this site with pictures. There are very few websites with pictures of swedish uniforms, dont know why.



http://www.algonet.se/~hogman/uniformer_armen_18.htm#1810-tal:

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Carolyn you answered your own question. Yes it's an unpaid job yes
conditions are far from ideal but you are doing it!!
----- Original Message ----- 
> >If you need more let me know. You have my dream job even with all it's
> >failings and I'd be happy to help.
>
> Thanx for pointing me toward those patterns.  I may buy myself that 4879,
> even tho I will have to seriously size it up to fit.  But I don't think
> unpaid volunteer docent is anyone's dream job, especially at lunch and
> parking prices in San Francisco.
>
> Another thing my boss doesn't understand is how anyone would want to go
off
> site in costume to eat lunch.  I delight in doing this, in first person if
> I can.  So now that our budget and our attendance are down, I will take
> fliers with me next time, so people in the area can find our site.  (I
> finally got her to say if anyone wanted to do this they could, because she
> sure wasn't going anywhere she didn't have to in the uncomfortable corset
> she wears.)
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
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>Carolyn you answered your own question. Yes it's an unpaid job yes
>conditions are far from ideal but you are doing it!!

I do it because I like the site and I like the period and I want other 
people to have a chance at liking history.  Some of them vote, and that's 
good too because one of our historical structures has just gotten a 
government allocation to be completely restored before it falls apart.  But 
I wish there were a nice clean antidote to my boss.  (God bless the Tzar, 
and keep the Tzar - far away from here.)


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

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Subject: Re: [h-cost] Help!! Musty smelling dress
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Status: RO

Greetings!

I don't remember if it was ever posted on this list, but a trick that some
Middle Eastern dancers use on their often very expensive, unwashable
costumes is to (as previously mentioned) hang the costume in the sun, or to
'smoke' the garment with a *very* good quality incense. I use our bathroom
as it is quite small; an empty closet would work as well. I hang my dresses
and tops on the shower curtain rod and use several sticks of my preferred
incense. I put a towel down in front of the door to keep the smoke in, and
keep my fire alarm from going berserk. :-) It works like a charm, and makes
my costumes smell nice. Usually I let my garments hang and air for a bit
before I put them back in the costume closet. So far this has worked very
well for me, for someone with scent alergies I would find another way.

Hope this is a help to someone,

Sheridan

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	<4.3.1.2.20040213142025.00db53b0@mail.frys.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
Date: Fri, 13 Feb 2004 22:30:22 -0500
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Status: RO

Carolyn, your description reminds me of one I have from the same period. The
main fabric is a brocade of brownish purple brocade (aubrogene?) The inner
accents are chartruese and coral.  The sheer front facings are of a bright
green in the same tone; also the ruffled edges of the sleeve facings. And
like the unexpected pinks of the period, I was unprepared for this unusual
shade of green...especially with the 'purple brown' of the main faabric.
What was equally surprising is the pale salmon of the faille evening skirt
that was mated with it!
Kathleen
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, February 13, 2004 6:59 PM
Subject: Re: [h-cost] disproving incorrect assertions, please advise


>
> >And if you are pattern reliant like I tend to be may I recommend:
> >
> >http://www.pastpatterns.com/4879.html
>
> Since this is the middle of my favorite period, I already have a
> comfortable straight-front corset made, plus basic skirt and basic
> shirtwaist patterns.  And Janet Arnold III has a couple more patterns from
> the period.  I also have a couple of skirts and shirtwaists made up.
>
> Thanx everybody for the encouragement.  I think my next Edwardian project
> will be copying the c.1898 bodice I own, which will need to be re-created
> at twice it's original size so it will fit me.  The front of the bodice
has
> a black beaded sheer panel that hangs over a pouch-front panel of
startling
> chartreuse velvet.  The rest of the fabric is mostly maroon, woven with
> raised elements in black.  There are bright green silk cuff facings that
> don't show from the outside, and the rest of the lining is brown glazed
> cotton.  I have maroon fabric and velvet for the re-creation, tho if I
> could find more of that bright chartreuse silk velvet I'd use that.  If my
> boss doesn't like that, when I wear one and hand her the other, I may well
> drop out of the program.
>
> >If you need more let me know. You have my dream job even with all it's
> >failings and I'd be happy to help.
>
> Thanx for pointing me toward those patterns.  I may buy myself that 4879,
> even tho I will have to seriously size it up to fit.  But I don't think
> unpaid volunteer docent is anyone's dream job, especially at lunch and
> parking prices in San Francisco.
>
> Another thing my boss doesn't understand is how anyone would want to go
off
> site in costume to eat lunch.  I delight in doing this, in first person if
> I can.  So now that our budget and our attendance are down, I will take
> fliers with me next time, so people in the area can find our site.  (I
> finally got her to say if anyone wanted to do this they could, because she
> sure wasn't going anywhere she didn't have to in the uncomfortable corset
> she wears.)
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
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>
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>

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Subject: [h-cost] Cholis (was: saris)
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Fat Chance Belly Dance has produced a farily accurate choli pattern that's
adaptable up to a D-cup and beyond. They specialize in Tribal style so have
done considerable research particularly on wearability.
BTW - most cholis fasten (usually tie) in the back at mid back and neck.

Nora

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Subject: Re: [h-cost] Silk dupioni satin?
Date: Fri, 13 Feb 2004 21:49:29 -0600
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Dupioni & Satin are both weaves and generally very different in appearance.
Both can be be made in a variety of weights, although most silk dupioni you
see is fairly light.
As for the iridescence/cross-weave effect in dupionis - they can often be
found in solids but frequently look slightly iridescent due to the sheen &
irregularity of the fibers. The cross-weaves are currently more popular so
you will definitely see them more often but most fabric stores can special
order dupioni in dozens of colors; the place I used to work at had close to
100 different colors available to order.

Nora

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From h-costume-bounces@indra.com  Sat Feb 14 01:24:00 2004
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Date: Fri, 13 Feb 2004 22:21:42 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
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>Carolyn, your description reminds me of one I have from the same period. The
>main fabric is a brocade of brownish purple brocade (aubrogene?)

Aubergine, meaning 'eggplant' in French.  Puce, a more brownish purple, 
comes from the French for blood or for flea (the dictionary would know), 
and it was named, in Bay Privateer period, for the color of a blood-filled 
flea.  I'm using a puce-maroon colored cotton damask for my copy, with 
maroon velvet and black beads.

>The inner
>accents are chartruese and coral.  The sheer front facings are of a bright
>green in the same tone; also the ruffled edges of the sleeve facings. And
>like the unexpected pinks of the period, I was unprepared for this unusual
>shade of green...especially with the 'purple brown' of the main faabric.
>What was equally surprising is the pale salmon of the faille evening skirt
>that was mated with it!

My bodice didn't come with a skirt.  It has the shoulder detailing so 
common just before 1900, but the front pooches down over the waistband a 
little, as was common after 1900.  The beaded overlay hangs in bands down 
to the waist, and the pooched velvet under it only pooches between these 
bands, lying flat under them.  The sheer overlay is black, as is all the 
beading (I collected nailheads for many years to get enough of the right 
sizes).  I should probably lay the bodice on my scanner so I can have 
copies of the beadwork for reference while I work.  If I really do scan it, 
I will have to post the scans someplace we can all see them.


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

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On Friday 13 February 2004 02:58 pm, Bjarne og Leif Drews wrote:
> Hi.
> I stumbled over this and thoaght i would share it with you.
> Very fine made rekonstrukted peassant costumes for folkdansers.
> http://www.lisbeth-green.dk/FOTO/photo.htm'

Thank you so much for sending the URL--I found this page very interesting.

-- 
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] disproving incorrect assertions, please advise
Date: Sat, 14 Feb 2004 01:31:57 -0500
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On Friday 13 February 2004 03:19 am, Carolyn Kayta Barrows wrote:
> > >But I just don't believe bustle dresses in a
> > > big city like San Francisco in 1901, which the boss seems to think is
> > > perfectly acceptable.
> >
> >I can believe that there would still be bustle-wearers in 1901, even in a
> >bigger city than San Francisco.  What I doubt is that they would be
> > common, and they certainly wouldn't be worn by fashionable women.
>
> I too wear garments that are 10 or 20 years old, but not the ones so dated
> that they read like their original decade.  I prefer wearing those older
> garments that are sufficiently classic that they look ok in the current
> decade.

So do I.  But there are always going to be a few eccentrics and/or elderly 
folk who disagree.

However, I agree with you completely that your boss is wrong in okaying bustle 
wearing for 1901 reenactors.  It gives a misleading impression for a 
reenactor, particularly one who is speaking and interacting directly with the 
public, to wear a fashion that was outdated and would have been obsolete and 
rare in period.

>
> But the 1880s silhouette is very different from that of 1901.  

Quite true.  For that matter, the 1895 silhouette is very different from 1901, 
though most of the difference there is above the waist.


>So I can
> sort-of believe someone still wearing an 1880s bodice in 1901, if she was
> poor, unfashionable, or old, because the shape is sort-of similar to what
> was current.  But I think the wearer would have been remade the skirt to
> modernize it a little, (and there's certainly enough material in them for
> that) or at least worn it without the bustle understructure.  

I'm not sure you could wear a late 1880's bustle skirt without the 
understructure without remaking it to redistribute the fabric, at least.  You 
make a good point that most women would have reshaped theirs so they could 
continue to wear them.


>Some
> fashionable 1889 and 1890 skirts look like mid-1880s skirts that have had
> their understructures, and some of their drapery, recently removed.

I haven't seen any examples of what you mean, but I can well believe they 
exist.


>
> But I think we're in agreement that the mid-1880s look is not the 1901 look
> my boss says she wants.

We sure are!  Thanks for your comments.

-- 
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 Feb 14 04:46:56 2004
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Date: Sat, 14 Feb 2004 01:44:31 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
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>However, I agree with you completely that your boss is wrong in okaying 
>bustle
>wearing for 1901 reenactors.  It gives a misleading impression for a
>reenactor, particularly one who is speaking and interacting directly with the
>public, to wear a fashion that was outdated and would have been obsolete and
>rare in period.

Misleading impression - that's the phrase I was looking for.  While I could 
believe a mid-80s house dress being worn well into the 90s, house dresses 
don't have much bustle.  Everything about even a slightly fashionable 
mid-80s dress clashes with the 1901 silhouette.

>For that matter, the 1895 silhouette is very different from 1901,
>though most of the difference there is above the waist.

The skirt is different too.  mid-90s skirts are relatively cone-shaped, 
while as early as 1898 skirts lose that shape and all the material sweeps 
to the back.

>You make a good point that most women would have reshaped theirs so they 
>could continue to wear them.

Museums are full of examples of this, from many different decades.  And I 
think bed quilts got the scraps.

> >Some
> > fashionable 1889 and 1890 skirts look like mid-1880s skirts that have had
> > their understructures, and some of their drapery, recently removed.
>
>I haven't seen any examples of what you mean, but I can well believe they
>exist.

The bustle kind-of softens, shrinks, and slowly goes away, leaving most of 
the fabric behind (no pun intended).

> > But I think we're in agreement that the mid-1880s look is not the 1901 look
> > my boss says she wants.
>
>We sure are!  Thanks for your comments.

And thanx for yours.


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

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Subject: Re: [h-cost] disproving incorrect assertions, please advise
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This sounds like a wonderful project.  Will look forward to seeing it later.
Today I am doing a 'trunk' show for the local Library.  It involves a wide
selection of underpinnings both Antique and replication garments.  The two
full costumes will be a  wool suit of about 1902-3 and a very elaborate
'court gown' from about 1898. it is very similar to the green velvet gown
with train that is in the "Hermitage Collection" (Russia).
I will be wearing a black lace Repro that I made last year for my Photo
show. The bead work and fringes and etc. sounds like your project.  Have
Fun!
Kathleen
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, February 14, 2004 1:21 AM
Subject: Re: [h-cost] disproving incorrect assertions, please advise


>
> >Carolyn, your description reminds me of one I have from the same period.
The
> >main fabric is a brocade of brownish purple brocade (aubrogene?)
>
> Aubergine, meaning 'eggplant' in French.  Puce, a more brownish purple,
> comes from the French for blood or for flea (the dictionary would know),
> and it was named, in Bay Privateer period, for the color of a blood-filled
> flea.  I'm using a puce-maroon colored cotton damask for my copy, with
> maroon velvet and black beads.
>
> >The inner
> >accents are chartruese and coral.  The sheer front facings are of a
bright
> >green in the same tone; also the ruffled edges of the sleeve facings. And
> >like the unexpected pinks of the period, I was unprepared for this
unusual
> >shade of green...especially with the 'purple brown' of the main faabric.
> >What was equally surprising is the pale salmon of the faille evening
skirt
> >that was mated with it!
>
> My bodice didn't come with a skirt.  It has the shoulder detailing so
> common just before 1900, but the front pooches down over the waistband a
> little, as was common after 1900.  The beaded overlay hangs in bands down
> to the waist, and the pooched velvet under it only pooches between these
> bands, lying flat under them.  The sheer overlay is black, as is all the
> beading (I collected nailheads for many years to get enough of the right
> sizes).  I should probably lay the bodice on my scanner so I can have
> copies of the beadwork for reference while I work.  If I really do scan
it,
> I will have to post the scans someplace we can all see them.
>
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
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In a message dated 2/14/2004 4:45:57 AM Eastern Standard Time, kayta@frys.com 
writes:

> The bustle kind-of softens, shrinks, and slowly goes away, leaving most of 
> the fabric behind (no pun intended).
> 

There's a little quiet film called "Day After the Fair" that takes place in 
1891. The costuming is perfection. The fashionable women wear gowns with zero 
bustle but there is much fullness in the back and still some front drapery cut 
into the skirts and even apron-like front panels...but these are low key and 
not elaborate or full. The bodice is tight and controlled over a very rigid 
corset with some slight fullness appearing in the sleeve heads. Very detailed to 
this transitional period is this film.

The 1895 skirt is sometimes stiff and super-controlled. It is "lined with 
buckram" [Janet Arnold] from the knees down in front and across the whole back 
sometimes. This with a circular cut or many trapezoidal back gores give it a 
half-closed umbrella look in the back. As the decade goes on, things soften 
up...even the leg-o-mutton sleeves. By 1901 the stiffness is gone. Things that were 
also found in 1895...trumpet shaped skirts and sleeves with full heads...are 
there but soft and droopy. I always associate the early 1900s with soft 
flowing light fabrics and super delicate lace.

And those huge hats that protrude forward laden with trim.
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Date: Sat, 14 Feb 2004 13:16:47 -0600
To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] digital microscopes
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Edmund Scientific sells them, as well. I saw them in the latest
catalogue and had to quickly turn the page before I got too
interested. <grin>

http://scientificsonline.com/category.asp?c=421190

Sheryl N-D


At 12:44 PM 2/13/04 -0800, you wrote:
>Greetings,
>
>I just had to share this with folks who would get it.  :D  I stopped in my 
>local Mac computer store to get ink cartridges.  I was waiting at the 
>register and glanced over at the "New Gizmos" table.  I saw a digital 
>microscope hooked up to an ibook.  I got a glint in my eye and asked the 
>cashier to demo it for me.  Big Mistake.  lol
>
>I now have a digital microscope that can go up to 50x and I can burn the 
>images right to CD.  Tres facile!  :D :D :D  I got the 50x lens, with 
>variable field of focus for $198.  The whole kit with several lens up to 
>200x costs about $700.  A bit rich for my blood, but something to consider 
>after I marry wealthy.
>
>I can't wait to try it out.  It's on order and should be here in a couple 
>weeks.  Oh, it will be fun to take to museums this summer.  :D
>
>Althea Turner
>*** althea@alfalfapress.com
>*** http://www.alfalfapress.com



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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] disproving incorrect assertions, please advise
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>And those huge hats that protrude forward laden with trim.

Hats start moving forward in 1902 or so, and really sit forward on the head 
later.  C1900 hats are still pretty centered on the head.  But the biggest 
hats are c1910 - great big round things with endangered bird feathers and 
lots of ostrich plumes.

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

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Carolyn Kayta Barrows wrote:

> So how do I correct my living history boss when she's documentably 
> wrong?  Is it possible to gently do something about this situation 
> without getting thrown out of the program for perceived 
> insubordination?  Please advise.

I know I'm jumping into this late but a couple things occured to me very 
late last night that might help. Your boss, like most managers, wants to 
stay in control. If you keep suggesting changes, even good ones, she's 
going to feel like she is losing control. She wants people to listen to 
her, not you. And if you are making the decisions, and she isn't, then 
her job is at risk.

So the trick, I think, is to make her feel that she is going to get the 
credit for any suggestions or changes that get made there. Somehow you 
need to make her believe that any "improvements" that you come up with 
are going to make her look good to whoever her boss is. The more 
accurate costumes and portrayals have to reflect on what a great job she 
is doing for the site.



Dawn



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>>So how do I correct my living history boss when she's documentably 
>>wrong?  Is it possible to gently do something about this situation 
>>without getting thrown out of the program for perceived 
>>insubordination?  Please advise.
>
>I know I'm jumping into this late but a couple things occured to me very 
>late last night that might help. Your boss, like most managers, wants to 
>stay in control. If you keep suggesting changes, even good ones, she's 
>going to feel like she is losing control. She wants people to listen to 
>her, not you. And if you are making the decisions, and she isn't, then her 
>job is at risk.
>
>So the trick, I think, is to make her feel that she is going to get the 
>credit for any suggestions or changes that get made there. Somehow you 
>need to make her believe that any "improvements" that you come up with are 
>going to make her look good to whoever her boss is. The more accurate 
>costumes and portrayals have to reflect on what a great job she is doing 
>for the site.

Interesting slant, and not one I would have thought of.  I will re-think my 
current approach, and will try to tweak it in your suggested 
direction.  Couldn't hurt, especially since I don't really care who gets 
the credit - it's not like I get a merit raise or anything ;)  Thank you.


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

              //// \\\
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] danish peassant costume reconstrukted
Date: Sun, 15 Feb 2004 07:23:28 -0700
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Very cool.....thanks!!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Friday, February 13, 2004 12:58 PM
To: h-costume@indra.com
Subject: [h-cost] danish peassant costume reconstrukted

Hi.
I stumbled over this and thoaght i would share it with you.
Very fine made rekonstrukted peassant costumes for folkdansers.
http://www.lisbeth-green.dk/FOTO/photo.htm





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: [h-cost] Victorian Patterns Ebay UK
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Hi all,

This seller

thingz2go


has a number of Victorian patterns on EBay UK at what appear to be
very reasonable prices. Auctions finish tomorrow, so if you are
interested...

best wishes
Stevie

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Subject: Re: [h-cost] Victorian Patterns Ebay UK
Date: Sun, 15 Feb 2004 21:26:19 -0500
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Stevie, I might be interested in these patterns but cannot find the eBay
source.  Any suggestions?
Kathleen
----- Original Message ----- 
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Sunday, February 15, 2004 3:23 PM
Subject: [h-cost] Victorian Patterns Ebay UK


> Hi all,
>
> This seller
>
> thingz2go
>
>
> has a number of Victorian patterns on EBay UK at what appear to be
> very reasonable prices. Auctions finish tomorrow, so if you are
> interested...
>
> best wishes
> Stevie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Subject: [h-cost] Norwegian 1500s
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Looking for sources for Norwegian costumes during the 1500s and posibly
earlier.
Does anyone have a source?
The bunad is, to my knowledge, after the 1700s. Though I can if I am unable
to find anything, look at the different bunads and compare them to Danish
and Germanic costumes of the period and get a rough idea.

Thank you,
De

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Subject: Re: [h-cost] Hussars (early 19th century)
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Hussars also wore a second jacket called a pelisse, usually slung over
one shoulder - see
http://vial.jean.free.fr/new_npi/revues_npi/17_2000/npi_1700/17_russ_huss1.htm
for some Russian ones.



Kate Bunting
Library, University of Derby
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Kayta wrote:

>Aubergine, meaning 'eggplant' in French.  Puce, a more brownish
>purple, comes from the French for blood or for flea (the dictionary
would >know), and it was named, in Bay Privateer period, for the color
of a >blood-filled flea. 

"Puce" means "flea".
BTW, I don't want to stary another OT thread, but we use the French
word "aubergine"  in British English for the vegetable *and* the colour.



Kate Bunting
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Subject: [h-cost] Victoran Tux Needed (Cheap)
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Hi everyone,

Just got the following from my brother:

> Once again, I've gotten my arm twisted and I find myself in a play.  
> Anyway,
> to make a long story short, I'm looking for a Victorian style tux and
> tophat.  Any suggestions.  The producer figures she can get one thru
> offering ad space, but that would still leave us short.  Didn't know if any
> of your costumer contacts might have suggestions or not.
> 
>>>>>>

We're in Omaha, NE.  He didn't say what group is putting on this play, but 
I'm guessing it's a group with a tight budget.  Anyone know of someone who might 
have one for rent or loan?  Alternately, anyone know a really cheap way to 
fake one?

Leah

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Victoran Tux Needed (Cheap)
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LLWatts@aol.com wrote:


> We're in Omaha, NE.  He didn't say what group is putting on this play, but 
> I'm guessing it's a group with a tight budget.  Anyone know of someone who might 
> have one for rent or loan?  Alternately, anyone know a really cheap way to 
> fake one?

IMO, for stage purposes, late Victorian formal wear is indistinguishable 
from modern formal wear. Thrift shops are a good place to find cheap 
shirts and vests. The bottom of the vest goes straight across, so if it 
is pointed they may want to do some quick alterations. The so-called 
"suicide" collar that is folded looks pretty cool and those can be found 
after prom season. Most guys already own a pair of black dress slacks 
and a plain tie. You can get matching gloves from formalwear shops, 
they're not too expensive. That only leaves the tuxedo jacket to be rented.



Dawn



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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Victoran Tux Needed (Cheap)
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Size? Play title? Do you mean formal tails, a cut-away, or full frock
ensemble? Do you require 'white tie, black tie (semi formal), or is the
character a servant sort that might wear a striped or green vest? I have all
of the above to rent, but would need more info.  Also, of course, the date
of the production.
Kathleen
----- Original Message ----- 
From: <LLWatts@aol.com>
To: <h-costume@indra.com>
Sent: Monday, February 16, 2004 9:32 AM
Subject: [h-cost] Victoran Tux Needed (Cheap)


> Hi everyone,
>
> Just got the following from my brother:
>
> > Once again, I've gotten my arm twisted and I find myself in a play.
> > Anyway,
> > to make a long story short, I'm looking for a Victorian style tux and
> > tophat.  Any suggestions.  The producer figures she can get one thru
> > offering ad space, but that would still leave us short.  Didn't know if
any
> > of your costumer contacts might have suggestions or not.
> >
> >>>>>>
>
> We're in Omaha, NE.  He didn't say what group is putting on this play, but
> I'm guessing it's a group with a tight budget.  Anyone know of someone who
might
> have one for rent or loan?  Alternately, anyone know a really cheap way to
> fake one?
>
> Leah
>


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	<000f01c3f434$43bf67c0$6d5183d1@rmitchellras>
Subject: Re: [h-cost] Victorian Patterns Ebay UK
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Kathleen

I don't know what is happening with this, since I cut and pasted the
name but now it won't work. However, a search on Victorian patterns
pulled up the same person:
try

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=2889222483&catego
ry=38564

and hit view sellers other items for more. Some are for children and
others for women...
Good luck!

Stevie

----- Original Message -----
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, February 16, 2004 2:26 AM
Subject: Re: [h-cost] Victorian Patterns Ebay UK


> Stevie, I might be interested in these patterns but cannot find the
eBay
> source.  Any suggestions?
> Kathleen
> ----- Original Message -----
> From: "Stevie Gamble" <stevie.gamble@btinternet.com>
> To: <h-costume@indra.com>
> Sent: Sunday, February 15, 2004 3:23 PM
> Subject: [h-cost] Victorian Patterns Ebay UK
>
>
> > Hi all,
> >
> > This seller
> >
> > thingz2go
> >
> >
> > has a number of Victorian patterns on EBay UK at what appear to be
> > very reasonable prices. Auctions finish tomorrow, so if you are
> > interested...
> >
> > best wishes
> > Stevie
> >
> > _______________________________________________
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> >
> >
>
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Subject: [h-cost] french courtdress in Denmark
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Status: RO


I have found new evidense, about the danish courtdress i told you about wich had a "bumroll" lying on top of the skirt.
I found a new picture wich shows exactly the same dress, only without the stuffed "bumroll"
Now it is not evidense, it could also be some folds of the courttrain, i know that, but i find it strange, that she is not wearing her train in the other picture then, because it is an official picture two.
http://www.my-drewscostumes.dk/frenchcourt

Could it be right that it is a stuffed bumroll, made for the fashion?

I made an other site on my other webpage about courtdresses in Denmark, and there is another dress, wich has the same mystery bumroll on top of the skirt, it is the black and white picture.
http://home0.inet.tele.dk/drewscph/robedecour.htm  

I am very interrested in hearing others oppinions
Thanks

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: Re: [h-cost] french courtdress in Denmark
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This reminds me of the various pictures of 'Elizabeth" wearing the same
gown(s) that has elements missing, according to the painter. The various
interpretations seem to present the idea that, for instance, a 'bum roll'
that is seen in one interpretation of the sitting may have been forgotten or
even assumed on another  canvas.  Certainly in these two views of court
dress there are similarities in the opulence of the royal robes, but one
artist understood how to do ' fur' better than the other.
Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Monday, February 16, 2004 5:20 PM
Subject: [h-cost] french courtdress in Denmark



I have found new evidense, about the danish courtdress i told you about wich
had a "bumroll" lying on top of the skirt.
I found a new picture wich shows exactly the same dress, only without the
stuffed "bumroll"
Now it is not evidense, it could also be some folds of the courttrain, i
know that, but i find it strange, that she is not wearing her train in the
other picture then, because it is an official picture two.
http://www.my-drewscostumes.dk/frenchcourt

Could it be right that it is a stuffed bumroll, made for the fashion?

I made an other site on my other webpage about courtdresses in Denmark, and
there is another dress, wich has the same mystery bumroll on top of the
skirt, it is the black and white picture.
http://home0.inet.tele.dk/drewscph/robedecour.htm

I am very interrested in hearing others oppinions
Thanks

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
_______________________________________________
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>   I have never seen the Legally Blond movies, but
> from what I have seen of previews it seems that the main character's
> problem is ditziness rather than girliness.  

It always seemed to me that the main character was just more socially 
adept than most intelligent women. She had learned to blend in with 
the society where she was expected but still maintain her 
intelligence.

It's unfortunate, however, that it is expected that intelligent women 
would need to act "ditzy" or "girly" so that they can fit in 
socially. But at least she was able to figure out the behavioral cues 
which so often makes intelligent women outcasts.

Frankly, I wish I had been able to figure out what made my clothes so 
much less acceptable than other peoples. (Well, I did figure out the 
high water thing, but it was impossible to find slacks long enough 
for my legs yet small enough for my college body so I just had to put 
up with the teasing.)

Kat
<kat@redtrollforge.com>


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JAMES OGILVIE wrote:
> 
> For anyone who is going to or through Cleveland in the near future, the Cleveland Museum of Art has a small special exhibit of mostly Renaissance textiles (a few earlier).  I think everything was from their collection but some of it is not usually on display.  Unfortunately, there is no book available.

(Former Northern Ohio resident)
Write the Cleveland Art Museum.  They do not do books but the sometimes do
oversize "brochure" on local exhibits.

Your humble and obediant servant,
David S Mallinak
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> In Hubby-the-Engineer's world, languages, history, geography, etc.
> have no value because their value cannot be quantified. Recently, I
> have been pushing towards more costume / history oriented movies to
> rent and he (who controls the control) has become accustomed to
> stopping the movie to ask me a question and to me blurting 'STOP' so
> that I can explain something that I *know* he knows nothing about. The
> depth of his ignorance in non-engineering topics is astounding!

Hey, I usually discuss costuming (especially patterning) in terms of 
engineering (especially in terms of statics and dynamics).

> Maybe I could tell him that the garb that I want to make for him is
> just like Leonardo da Vinci (great engineer, right?) would have worn
> ... <g>

Maybe! ;)

Kat
<kat@redtrollforge.com>


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> Completely off the mark in regard to my ex-husband. He wanted me to
> stay at home, cook and clean for him, and basically wait on him hand
> and foot. He's got a Masters in Mechanical Engineering and a Doctorate
> in Robotics.
> 
> T.
> 
> > >Engineeers don't like girly girls.  They like women who are like
> > >them, whether engineers or not.

Actually, the two are not mutually exclusive. They want their women 
to be able to converse intelligently with them (but not make them 
feel less intelligent), take care of them (like a mother, or the 
mother they wished they had) and be available for what they consider 
fun.

Kat
<kat@redtrollforge.com>


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> > > >Engineeers don't like girly girls.  They like women who are like
> > > >them, whether engineers or not.
>
>Actually, the two are not mutually exclusive. They want their women
>to be able to converse intelligently with them (but not make them
>feel less intelligent), take care of them (like a mother, or the
>mother they wished they had) and be available for what they consider
>fun.

The only time I was married to an engineer-type, I ended up divorcing 
him.  He didn't know how to relate to people, I found out too late, 
including me.  But he still has, and wears, all the historical costumes I 
made for him, and happily answers questions about history when the kids ask 
him.


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

              //// \\\
             ////-@@\\\
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             (((  <> ))))
                )   ((((((
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On Monday 16 February 2004 07:47 pm, kat@grendal.rain.com wrote:
> >   I have never seen the Legally Blond movies, but
> > from what I have seen of previews it seems that the main character's
> > problem is ditziness rather than girliness.
>
> It always seemed to me that the main character was just more socially
> adept than most intelligent women. She had learned to blend in with
> the society where she was expected but still maintain her
> intelligence.
>
> It's unfortunate, however, that it is expected that intelligent women
> would need to act "ditzy" or "girly" so that they can fit in
> socially. But at least she was able to figure out the behavioral cues
> which so often makes intelligent women outcasts.

Very much agreed, on all points.  Thanks for saying it so well.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: smart women
Date: Mon, 16 Feb 2004 20:46:39 -0500
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[snip]
[T. said:]

> > > >Engineeers don't like girly girls.  They like women who are like
> > > >them, whether engineers or not.

[then Kat said:]
> Actually, the two are not mutually exclusive. They want their women
> to be able to converse intelligently with them (but not make them
> feel less intelligent), take care of them (like a mother, or the
> mother they wished they had) and be available for what they consider
> fun.

Agreed, but I suspect that one reason many men have no patience with "girly 
girls" is that they may be *less* interested in sex than in small cute 
animals or other substitutes for exercising the maternal instinct.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Fw: [h-cost] french courtdress in Denmark
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----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, February 16, 2004 6:08 PM
Subject: Re: [h-cost] french courtdress in Denmark


> This reminds me of the various pictures of 'Elizabeth" wearing the same
> gown(s) that has elements missing, according to the painter. The various
> interpretations seem to present the idea that, for instance, a 'bum roll'
> that is seen in one interpretation of the sitting may have been forgotten
or
> even assumed on another  canvas.  Certainly in these two views of court
> dress there are similarities in the opulence of the royal robes, but one
> artist understood how to do ' fur' better than the other.
> Kathleen
> ----- Original Message ----- 
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> To: <h-costume@indra.com>
> Sent: Monday, February 16, 2004 5:20 PM
> Subject: [h-cost] french courtdress in Denmark
>
>
>
> I have found new evidense, about the danish courtdress i told you about
wich
> had a "bumroll" lying on top of the skirt.
> I found a new picture wich shows exactly the same dress, only without the
> stuffed "bumroll"
> Now it is not evidense, it could also be some folds of the courttrain, i
> know that, but i find it strange, that she is not wearing her train in the
> other picture then, because it is an official picture two.
> http://www.my-drewscostumes.dk/frenchcourt
>
> Could it be right that it is a stuffed bumroll, made for the fashion?
>
> I made an other site on my other webpage about courtdresses in Denmark,
and
> there is another dress, wich has the same mystery bumroll on top of the
> skirt, it is the black and white picture.
> http://home0.inet.tele.dk/drewscph/robedecour.htm
>
> I am very interrested in hearing others oppinions
> Thanks
>
> Bjarne
>
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
>

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I don't know much about 18th century fashion, but to me Charlotte Amalie
Skeel certainly seems to be wearing a separate train over her skirt, so
I could easily believe that the similar "rolls" visible on other gowns
are also the top of a train.


Kate Bunting
Library, University of Derby
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "H-Costume@Indra. Com" <h-costume@indra.com>
Date: Tue, 17 Feb 2004 09:44:56 -0700
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Subject: [h-cost] Janet Arnold work continuance
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This forwarded note was posted by Kass on another list and I thought it
would be of interest to folks.  Sorry for cross posts.

 

Sg

 

-----Original Message-----
From: historian@reconstructinghistory.com
[mailto:historian@reconstructinghistory.com] 
Sent: Monday, February 16, 2004 8:08 AM
To: GermanRenCostume@yahoogroups.com
Subject: RE: [GermanRenCostume] Shirt Patttern

 

This was posted to the Ren Tailor list back in November.  There is no
mention of a medieval PoF, but instead a PoF on linen garments that were
purposefully left out of the previous PoF books:

 

> For those of you with an interest in the works of the late great 

> British costume historian, Janet Arnold, I offer the following news. I 

> have today, received a letter from Santina M. Levey, (the executor of 

> Janet Arnold's estate) updating me on the work that both she and 

> Millie Jaffe' have been conducting, to assemble one last final volume 

> in the "Patterns of Fashion" series.

> 

> Those of you, who have followed my previous posts, will remember that 

> Ms. Levey and Mrs. Jaffe' have been working with previously 

> unpublished research materials of Ms. Arnold's, relating to fair linen 

> - coifs, shirts, shifts, ruffs, collars, etc. which were left as part 

> of the estate.

> 

> Originally, they had hoped to be ready for a publication date of late 

> 2003 or early 2004.  Ms. Levey informs me that unfortunately due to 

> "personal reasons", there will be at least a one year delay until the 

> new volume is published.

> 

> She goes on to say the the new volume will be published by Macmillan 

> as part of the existing series of "Patterns of Fashion", but that we 

> should not expect to see it until late 2004 or early 2005.

> 

> Please free to forward to other interested parties or lists, as 

> desired.

> 

> In service to Crown and Coronet, yours faithful and ever assured, HL 

> Eleanor of Leycestershyre, AoA, JdL, etc Apprentice to Mistress Sine 

> Gillian MacDonald, OL "Purpure a Phoenix Or rising from Flames Gules, 

> on a Chief Or three Suns in Splendour Purpure"

> Head of House Crone Henge

> 

> Loquora unica veritatis

 

Reconstructing History Patterns 
http://reconstructinghistory.com 
Join Our Pattern Discussion List: 
http://reconstructinghistory.com/mailman/listinfo/patterns_reconstructinghis
tory.com 

-----Original Message-----
From: Saragrace T. Knauf [mailto:saragrace@earthlink.net] 
Sent: 15 February 2004 3:58 PM
To: GermanRenCostume@yahoogroups.com
Subject: RE: [GermanRenCostume] Shirt Patttern

 

Janet Arnold is dead.  Her assistant was supposed to continue the POF
series..who knows if it will really happen.  I don't think I ever heard of a
medieval one in the works.  I had heard she was planning on combining some
of her journal articles into another POF (As I recall the shirt article was
one of them.) 

 

-----Original Message-----
From: Julie [mailto:jtknits@cts.com] 
Sent: Sunday, February 15, 2004 12:39 PM
To: GermanRenCostume@yahoogroups.com
Subject: [GermanRenCostume] Shirt Patttern

 

Thank you.  I thought I'd bought all her books.

I'd love to get a copy of the article.  I'm about to turn in that shirt
(minus the embroidery) as an arts project.

If it's a German magazine probably not much chance it's carried at my local
library.  Any suggestions where I could get it?

P.S.  Is Janet Arnold still alive?  I heard a rumor that she'd passed away
and I'll never get to see her PoF on medieval garments.

Julie 

 

  _____  

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<http://docs.yahoo.com/info/terms/> . 

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Subject: [h-cost] 16th century Polish?
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I have a friend who is looking for a faire outfit that reflects his Polish
heritage.

Can anyone recommend any books or sites with information on late 16th
Century Polish clothing for men?  (I already checked that link off Drea's
site).  I'm afraid that though I am half-Polish myself, I know next to
nothing about this area.

Wendy Z
looking up pictures in
Chicago, IL
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Subject: Re: [h-cost] 16th century Polish?
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There's a little here:
http://www.icbleu.org/artur/polishcostumes.htm

Grace/Jessamyn
jessamynscloset.com
On Tuesday, February 17, 2004, at 02:50 PM, zski@ripco.com wrote:

> I have a friend who is looking for a faire outfit that reflects his 
> Polish
> heritage.
>
> Can anyone recommend any books or sites with information on late 16th
> Century Polish clothing for men?  (I already checked that link off 
> Drea's
> site).  I'm afraid that though I am half-Polish myself, I know next to
> nothing about this area.
>
> Wendy Z
> looking up pictures in
> Chicago, IL
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Norwegian 1500s
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I'd be interested in any information on this as well.

Thanks,

Drea

On Sun, 15 Feb 2004, otsisto wrote:

> Looking for sources for Norwegian costumes during the 1500s and posibly
> earlier.
> Does anyone have a source?
> The bunad is, to my knowledge, after the 1700s. Though I can if I am unable
> to find anything, look at the different bunads and compare them to Danish
> and Germanic costumes of the period and get a rough idea.
>
> Thank you,
> De
>
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Subject: [h-cost] norwegian costumes
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Hi,
Norway was a province in Denmark in the 1500s so perhaps the styles were the same. But if you are looking for peassants costumes of the time, i dont think there are any picture documentation. The eldest danish folk costumes are from the 1700s 

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Drea Leed wrote:
> I'd be interested in any information on this as well.
> 
> Thanks,
> 
> Drea

	And me! I had a devil of a time trying to find mid 17th 
century Swedish. I'd love some early Norwegian.

	-Judy



> 
> On Sun, 15 Feb 2004, otsisto wrote:
> 
> 
>>Looking for sources for Norwegian costumes during the 1500s and posibly
>>earlier.
>>Does anyone have a source?
>>The bunad is, to my knowledge, after the 1700s. Though I can if I am unable
>>to find anything, look at the different bunads and compare them to Danish
>>and Germanic costumes of the period and get a rough idea.
>>
>>Thank you,
>>De
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 
> 


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Subject: [h-cost] Is this a good deal on Godeys?
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Just curious. I'm considering expanding my costume and history library 
into this period and I see that there are several of these volumes on ebay.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3587049307&category=45108&sspagename=STRK%3AMEBWA%3AIT&rd=1

Is $40 a good price for something like this? Are there better places to 
buy these old magazines? I'd hate to start off by making foolish purchases.



Dawn



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Subject: [h-cost] Jean Hunnisett book?
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Does anyone on the list know when volume 5 of Period Costume for Stage and
Screen is to be published in the U.S.?

I have or have access via local public/state college libraries in my area
the other four volumes : PCfSaS: 1500-1800, PCfSaS:1800-1909, PCfSaS:
Medieval-1500, and PCfSaS: Capes, Cloaks..., but Volume 5 which is Coats,
Pelisses, Coifs, and Caps is only available on the Brit side of the pond and
with shipping and current exchange rates with the U.S. dollar, where
available from a Brit source is rather pricey at present.

Many thanks

Cindy Abel





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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] french courtdress in Denmark
Date: Tue, 17 Feb 2004 16:50:17 -0600
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It doesn't look like a bumroll but a skirt or peplum, on the Blk and Wht
picture.
Also, up close, the picture with the "bumroll" {verses without) looks more
like someone tied up the skirt a bit then a bumroll.

De

> I found a new picture wich shows exactly the same dress, only without the
> stuffed "bumroll"
> Now it is not evidense, it could also be some folds of the courttrain, i
> know that, but i find it strange, that she is not wearing her train in the
> other picture then, because it is an official picture two.
> http://www.my-drewscostumes.dk/frenchcourt
>
> Could it be right that it is a stuffed bumroll, made for the fashion?
>
> I made an other site on my other webpage about courtdresses in Denmark,
and
> there is another dress, wich has the same mystery bumroll on top of the
> skirt, it is the black and white picture.
> http://home0.inet.tele.dk/drewscph/robedecour.htm
>
> I am very interrested in hearing others oppinions
> Thanks
>
> Bjarne
>
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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Subject: Re: [h-cost] Norwegian 1500s
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I happened to be in the Lacis store in Berkeley today and saw a book about 
bunads. I have zero knowledge about Scandinavian garments; I just happened 
to recognize the word <g>. So I don't know if it's what you are looking for 
or not.

Their web site isn't very helpful regarding books. They have a fantastic 
book collection. I was talking with Rebecca, the book maven, and she said 
that a direct call to the store will give much better service than an 
email. So, if you're interested

tel: (510) 843-7290

Katie


At 04:18 PM 2/17/2004 -0500, you wrote:
>I'd be interested in any information on this as well.
>
>Thanks,
>
>Drea
>
>On Sun, 15 Feb 2004, otsisto wrote:
>
> > Looking for sources for Norwegian costumes during the 1500s and posibly
> > earlier.
> > Does anyone have a source?
> > The bunad is, to my knowledge, after the 1700s. Though I can if I am unable
> > to find anything, look at the different bunads and compare them to Danish
> > and Germanic costumes of the period and get a rough idea.
> >
> > Thank you,
> > De



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Subject: Re: [h-cost] Jean Hunnisett book?
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> Does anyone on the list know when volume 5 of Period Costume for Stage
> and Screen is to be published in the U.S.?
> 
> I have or have access via local public/state college libraries in my
> area the other four volumes : PCfSaS: 1500-1800, PCfSaS:1800-1909,
> PCfSaS: Medieval-1500, and PCfSaS: Capes, Cloaks..., but Volume 5
> which is Coats, Pelisses, Coifs, and Caps is only available on the
> Brit side of the pond and with shipping and current exchange rates
> with the U.S. dollar, where available from a Brit source is rather
> pricey at present.

I saw it for sale this past weekend from Pastiche. I don't recall the 
price however (but it seemed priced the same of the other Hunnisett 
books they were also selling.)

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] french courtdress in Denmark
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Bjarne wrote:

........................................................

I have found new evidense, about the danish courtdress i told you
about wich had a "bumroll" lying on top of the skirt.
I found a new picture wich shows exactly the same dress, only without
the stuffed "bumroll"
Now it is not evidense, it could also be some folds of the courttrain,
i know that, but i find it strange, that she is not wearing her train
in the other picture then, because it is an official picture two.
http://www.my-drewscostumes.dk/frenchcourt

Could it be right that it is a stuffed bumroll, made for the fashion?

I made an other site on my other webpage about courtdresses in
Denmark, and there is another dress, wich has the same mystery bumroll
on top of the skirt, it is the black and white picture.
http://home0.inet.tele.dk/drewscph/robedecour.htm

I am very interrested in hearing others oppinions
Thanks

.....................................................


This is very odd! I'm not sure that it is stuffed; it looks more like
a vestigial remnant of the pleating over a skirt support so common in
English courtwear  at the end of the 16th century and the early 17th
century. If that is so then the next question is what sort of skirt
support was being used. The silk is so very stiff that I can't see any
outline shape on the colour portraits, but the Brünniche portrait
suggests that hip panniers of a rather strange shape are involved. All
in all, very odd!

best wishes
Stevie

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Hi, All. Wendy, you might want to look at Irena Turnau's book  "History 
of Dress in Eastern and Central Europe from the 16th to the 18th Cent. " 
Institute of the History of Material Culture, Polish Academy of 
Sciences  Warsaw 1991 ISBN 83-85463-03-8 -Also "Land of the Winged 
Horsemen, Art in Poland 1572-1764" Ed. by Jane Sweeney 1999 Art Svcs 
Intl.  ISBN 0-88397-131-3 and finally, there are some illos of Eastern 
Europeans in Dover's reprint of the Vecellio Costume book on pg. 124 
Also, I don't usually recommend their use for historical costuming, but 
the Osprey Men-at-Arms series (intended originally to help wargamers 
paint their miniature figures) has a few books on Polish armies of the 
16th and 17th Cents. (#s 184 and 188) Avoid the artist illos in the 
center of the book, as well as any Victorian illos. If you stick to the 
documentable historical illos, you will do well. Of course, if this is 
for a Renfaire, they (the Faire) may or may not have standards depending 
on whether or not your friend will be working there or just visiting.   
Oh, also, try looking up the Westphalian Society and look at Boleslav 
Orlicki's Light Artillery (Rick Orli's site) His stuff is 17th Cent., 
but it is close enough to late 16th as to be virtually 
indistinguishable. If you send him a note, tell him I sent you and he 
will realise that you are interested in doing real historical stuff, and 
that you are not a high school kid looking to get him to do your school 
report  for you ;) He will also probably share his source material with 
you . Maybe you can even form a unit out your way... who knows?  Cheers, 
Mike Tartaglio (Mike T.)


>Can anyone recommend any books or sites with information on late 16th
>Century Polish clothing for men?  (I already checked that link off Drea's
>site).  I'm afraid that though I am half-Polish myself, I know next to
>nothing about this area.
>
>
>  
>

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Subject: Re: [h-cost] Is this a good deal on Godeys?
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Dawn, 15=20 years ago I began to collect 19th C mags.  At that time $40 was
a good price in this area, if the books had not been stripped of the fashion
plates and providing they had both covers! This copy that seems to have gone
for over $80 looks to have been a good deal.  The 1860s editions are more
prolific and thus potentially available than, say. the '40s or '50s. Because
of the wealth of other material relating to history, social and otherwise,
along with info re domestic living and the "literature", I have also taken
volumes that were 'naked' re illustration...but at a lower price.  Keep your
eyes open for Peterson's, Arthur's, and Grahams, also.  All contain the
general format of Godeys.  I personally like the novels in Peterson's, but
Grahams has a lot of references from both English and French fashion worlds
that help to round out the "Known World" of that period.
Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, February 17, 2004 5:20 PM
Subject: [h-cost] Is this a good deal on Godeys?


> Just curious. I'm considering expanding my costume and history library
> into this period and I see that there are several of these volumes on
ebay.
>
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3587049307&category=45108&sspagename=STRK%3AMEBWA%3AIT&rd=1
>
> Is $40 a good price for something like this? Are there better places to
> buy these old magazines? I'd hate to start off by making foolish
purchases.
>
>
>
> Dawn
>
>
>
> _______________________________________________
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Date: Tue, 17 Feb 2004 19:51:39 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] 16th century Polish?
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At 1:50 PM -0600 2/17/04, zski@ripco.com wrote:
>I have a friend who is looking for a faire outfit that reflects his Polish
>heritage.
>
>Can anyone recommend any books or sites with information on late 16th
>Century Polish clothing for men?  (I already checked that link off Drea's
>site).  I'm afraid that though I am half-Polish myself, I know next to
>nothing about this area.

If I'm remembering correctly, I think

Gutkowska-Rychlewska, Maria.  1968.  Historia Ubiorow. (not sure of 
the publisher)

covers the relevant period.  The text is in Polish, but there are 
lots of pictures and diagrams.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] Is this a good deal on Godeys?
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At 04:20 PM 2/17/2004 -0600, you wrote:
>Just curious. I'm considering expanding my costume and history library 
>into this period and I see that there are several of these volumes on ebay.
>
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3587049307&category=4510 
>8&sspagename=STRK%3AMEBWA%3AIT&rd=1
>
>Is $40 a good price for something like this? Are there better places to 
>buy these old magazines? I'd hate to start off by making foolish purchases.
>
>Dawn

Actually, $40 would be a good price for this (the final bid, however, was 
nearly $82!), given its condition.  I have found volumes of Godey's and 
Peterson's magazines at various places.  My best shopping is usually at 
book shows.

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Date: Tue, 17 Feb 2004 21:32:55 -0800
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Subject: [h-cost] Bunad (WAS: Re: Norwegian 1500s)
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At 10:18 PM -0600 2/15/04, otsisto wrote:
>Looking for sources for Norwegian costumes during the 1500s and posibly
>earlier.
>Does anyone have a source?
>The bunad is, to my knowledge, after the 1700s. Though I can if I am unable
>to find anything, look at the different bunads and compare them to Danish
>and Germanic costumes of the period and get a rough idea.

You're right that the "bunad" is later. For those who haven't heard 
this term, Norway has a system of "official" folk costumes (bunader) 
for each province. Most, if not all, of them were codified in the 
"folk revival" movement of the very early 20th century -- 1911 is the 
date that sticks in my mind for some reason, and at 3:00AM I will 
probably wake up remembering the name of the woman who organized this 
particular aspect of the revival. (Aha! I looked it up -- Klara Semb.)

There was, I should point out, quite a bit of political baggage 
attached to this particular "folk revival," since IIRC Norway was 
either pushing for, or had just achieved, its independence, after 
being subject to the Danish crown for quite a long time. Hence the 
revival of northern Norwegian dialect as "Nynorsk" or "New 
Norwegian," along with folk songs, folk dances, folk costumes etc. 
was all heavily nationalistic and tended to lay particular stress on 
_differences_ from Denmark and Sweden.

(Disclaimer: all of what I'm saying here should be taken as "....if 
I'm remembering this correctly," since at the moment I can't lay my 
hands on one of the relevant books, the one with all the color 
postcards in it.)

When I was there, <mumble> many years ago, I knew at least enough 
about costume history to ask questions, and was told (IIRC) that some 
of the "official" costumes were derived from one or a group of 
surviving earlier costumes (mostly mid-1800s), while others simply 
took common construction techniques, picked a fabric common in the 
area, and declared it the "official" regional costume. These really 
were quite narrowly defined, right down to specific fabrics and what 
embroidery designs you were supposed to put on them, and while I was 
there I saw only a few deviations from the "official" versions.

You could buy your "bunad" already made up, or as a pattern marked 
out on the cloth with the official embroidery designs drawn on the 
fabric. I don't think you could buy paper patterns, or I think I 
would have gotten a couple.

What I particularly liked about it was that "bunad" is considered 
appropriate wear for any occasion, no matter how formal, and I knew 
quite a few people who bought them for their wedding outfits ("rather 
than wearing all that white stuff, like a ghost," one recent bride 
commented to me). The prices were way out of my reach, even for the 
do-it-yourself version -- several hundred dollars I think.

So no, I would guess that, being basically a product of 19th-century 
romantic thinking, the generally accepted "folk costumes" of Norway 
would not be much help in trying to reconstruct what was worn in the 
1500s. There actually probably _is_ some good information 
incorporated into the 19th-century designs, but without more 
evidence, it's hard to disentangle what it is.

(I remember being fascinated at the time by the woman's costume for 
Setesdal, which was described to me then as having a "Bronze Age 
skirt." Worn over a white shirt or smock (as they all are), it 
consists of a band of red, green and black cloth that passes above 
the bosom and across the back, into which are gathered many yards of 
black wool that hang freely from there to the hem -- I seem to 
remember it looking almost like cartridge pleating, but at the time I 
wouldn't have known that. There are shoulder straps, and the skirt is 
relatively short, certainly not longer than mid-calf. The bottom of 
the skirt is heavily stiffened and bears appliqued red and green 
bands. In what respect this might be "Bronze Age" I now can't 
discern, unless it's perhaps a highly formalized "tube dress" that's 
been permanently gathered into a band.)

I'd be interested to see what's happened to the state of research on 
Norwegian costumes since I was there. Quite a bit, I'm sure.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: [h-cost] Madame Pompadour - unusual 18th century bodice
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Hi all,

I am trying to work out the construction of the unusual bodice shown
in a Boucher porttrait of Madame le Pompador in the V&A painting

http://gallery.euroweb.hu/art/b/boucher/2/pompado2.jpg

It is obviously not front opening and  is far looser than the robe
francaise. Bjarne has suggested back lacing, but I am wondering
whether side lacing may have been possible. Has anyone any thoughts?

thanks and best wishes
Stevie


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: [h-cost] Bunad (WAS: Re: Norwegian 1500s)
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>>> claning@igc.org 18/02/04 05:32:55 >>> wrote: 

> Norway has a system of "official" folk costumes (bunader) 
>for each province. Most, if not all, of them were codified in the 
>"folk revival" movement of the very early 20th century -- 1911 is the

>date that sticks in my mind for some reason, [snip]

>There was, I should point out, quite a bit of political baggage 
>attached to this particular "folk revival," since IIRC Norway was 
>either pushing for, or had just achieved, its independence, after 
>being subject to the Danish crown for quite a long time. 

Prince Carl of Denmark and his British wife Princess Maud became King
and Queen of an independent Norway in 1905.

Kate Bunting (whose godfather is Norwegian)
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Chris Laning wrote:
> narrowly defined, right down to specific fabrics and what embroidery 
> designs you were supposed to put on them, and while I was there I saw 
> only a few deviations from the "official" versions.

I was there with a conference a few years ago, and was told it was not 
allowed to sell deviations.

Here is a great site with pictures, and is fairly easy to navigate even 
if you don't speak the language:

http://www.husfliden.no/  The menu under the map lists the different 
regions.

> What I particularly liked about it was that "bunad" is considered 
> appropriate wear for any occasion, no matter how formal,

Yeah, it's the women's equivalent of a tailcoat.  (There is men's bunad 
too.) I love this idea!  But it costs thousands of dollars (hearsay).

I was also really taken with the traditional jewelry, sřlje, which are 
round brooches with hanging dished circles.  Modest ones are two or 
three inches across, and ones for weddings and such are larger!

(I kept a trip diary, should anyone be interested; it's at 
http://www.virtue.to/articles/Oslo.html )

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Dinner was most tasty, and supported the guidebook's theory that in 
Norway, vegetables are something that happen to someone else.
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Bunad (WAS: Re: Norwegian 1500s)
Date: Wed, 18 Feb 2004 05:28:55 -0600
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Looking at some of the Bunads I can see some of the styles look to have some
Germanic 1400s or 1500s style to them. There are also some that look like
they may have evolved from the old Norse apron dress.
I am wondering if there has ever been an example of an Norse apron dress and
if there is an example of how the straps were worn in the back. If so, was
that way the most common way to wear it or not?
I have noticed one consistency among the Scandinavian and Germanic regions
is the apron. If the bunads are any indication, I would say that Norwegians
in the 1500s might have probably worn aprons.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kate M Bunting
Sent: Wednesday, February 18, 2004 2:59 AM
To: h-costume@indra.com
Subject: [h-cost] Bunad (WAS: Re: Norwegian 1500s)




>>> claning@igc.org 18/02/04 05:32:55 >>> wrote:

> Norway has a system of "official" folk costumes (bunader)
>for each province. Most, if not all, of them were codified in the
>"folk revival" movement of the very early 20th century -- 1911 is the

>date that sticks in my mind for some reason, [snip]

>There was, I should point out, quite a bit of political baggage
>attached to this particular "folk revival," since IIRC Norway was
>either pushing for, or had just achieved, its independence, after
>being subject to the Danish crown for quite a long time.

Prince Carl of Denmark and his British wife Princess Maud became King
and Queen of an independent Norway in 1905.

Kate Bunting (whose godfather is Norwegian)
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Subject: Re: [h-cost] Bunad (WAS: Re: Norwegian 1500s)
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How do these costumes relate to the Danish peasant costumes of the 18th-19th
C that Bjarne posted in the last few days? If the apron is one of the
distinctive factors, how far back was the apron a true part of ethnic
identity. One certainly finds it in the French regional costume too.
Kathleen
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 18, 2004 6:28 AM
Subject: RE: [h-cost] Bunad (WAS: Re: Norwegian 1500s)


> Looking at some of the Bunads I can see some of the styles look to have
some
> Germanic 1400s or 1500s style to them. There are also some that look like
> they may have evolved from the old Norse apron dress.
> I am wondering if there has ever been an example of an Norse apron dress
and
> if there is an example of how the straps were worn in the back. If so, was
> that way the most common way to wear it or not?
> I have noticed one consistency among the Scandinavian and Germanic regions
> is the apron. If the bunads are any indication, I would say that
Norwegians
> in the 1500s might have probably worn aprons.
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Kate M Bunting
> Sent: Wednesday, February 18, 2004 2:59 AM
> To: h-costume@indra.com
> Subject: [h-cost] Bunad (WAS: Re: Norwegian 1500s)
>
>
>
>
> >>> claning@igc.org 18/02/04 05:32:55 >>> wrote:
>
> > Norway has a system of "official" folk costumes (bunader)
> >for each province. Most, if not all, of them were codified in the
> >"folk revival" movement of the very early 20th century -- 1911 is the
>
> >date that sticks in my mind for some reason, [snip]
>
> >There was, I should point out, quite a bit of political baggage
> >attached to this particular "folk revival," since IIRC Norway was
> >either pushing for, or had just achieved, its independence, after
> >being subject to the Danish crown for quite a long time.
>
> Prince Carl of Denmark and his British wife Princess Maud became King
> and Queen of an independent Norway in 1905.
>
> Kate Bunting (whose godfather is Norwegian)
> _______________________________________________
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References: <003e01c3f560$4d99daa0$31758151@dan>
Subject: Re: [h-cost] Madame Pompadour - unusual 18th century bodice
Date: Wed, 18 Feb 2004 08:29:34 -0500
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My first thought would also be some kind of side fastening.  Because of the
way the ribbon tie is rusched in the front, it looks as if there might be
some lacing in the front around which the ribbon is wound for the 'final
effect'.
Kathleen
----- Original Message ----- 
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Tuesday, February 17, 2004 9:14 AM
Subject: [h-cost] Madame Pompadour - unusual 18th century bodice


> Hi all,
>
> I am trying to work out the construction of the unusual bodice shown
> in a Boucher porttrait of Madame le Pompador in the V&A painting
>
> http://gallery.euroweb.hu/art/b/boucher/2/pompado2.jpg
>
> It is obviously not front opening and  is far looser than the robe
> francaise. Bjarne has suggested back lacing, but I am wondering
> whether side lacing may have been possible. Has anyone any thoughts?
>
> thanks and best wishes
> Stevie
>
>
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Subject: Re: [h-cost] Bunad (WAS: Re: Norwegian 1500s)
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I came up with 2 possible via OCLC.  They are both from the first half 
of the 19th century, which MIGHT mean that they have stuff from before 
the great folk dress "push" of the 19th century.  One never knows...

And if you ever want a feast for the eyes, be in Oslo on May 17, and 
see thousands of people (at least) dress in traditional folk dress!

Grace/Jessamyn

Title:  Norske nationale Klćdedragter,
Author(s):	Senn, Johnannes, 1780-1861. 
Publication:	[Olso, Břrsums forlag,
Year:	1969
Description:	80 l. of plates. 9 p. 33 cm.
Language:	Norwegian
Standard No:	LCCN: 72-365620
SUBJECT(S)	
Descriptor:	Costume -- Norway -- History. 
Note(s):	Title also in German: Norwegische National-Kleidertrachten./ 
Captions in German and Norwegian: text in English and Norwegian./ 
Facsimile reprint of the 1812? Copenhagen ed./ "Er pá 100 nr. og 
signerte

Title:	Norske nationaldragter :
Author(s):	Třnsberg, Chr.; 1813-1897. ; (Christian),; Eckersberg, J. 
F.,; 1822-1870. ; (Johan Fredrik)
Publication:	[Oslo : Norges kunst og faksimile forlag,
Year:	1994, 1852
Description:	136 p. : col. ill. ; 36 cm.
Language:	English
Standard No:	ISBN: 8244100346; LCCN: 95-160233
SUBJECT(S)	
Descriptor:	Costume -- Norway -- History. 
Clothing and dress in art. 
Note(s):	Text in English, German, and Norwegian./ Facsim. of 1852 ed. 
published in Christiania by Chr. Třnsberg, edited by Třnsberg, and with 
illustrations chiefly by J.F. Eckersberg.


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Greetings All,

I am looking for a couple of interesting magazines to give a friend for her birthday.  She already gets Threads.  So I was wondering if any of you have any other suggestions.

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Cynthia Virtue wrote:

>I was also really taken with the traditional jewelry, sřlje, which are 
>round brooches with hanging dished circles.  Modest ones are two or 
>three inches across, and ones for weddings and such are larger!

Yes, I bought one while I was there. They twinkle as you move :)

The only problem I have with mine is that I wear it so seldom (I rarely wear jewelry at all) that I have to polish the thing every time I want to wear it. The little silver mirrors tarnish *real* easy and are rather fiddly to polish up.


____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
____________________________________________________________

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> Yes, I bought one while I was there. They twinkle as you move :)
> 
> The only problem I have with mine is that I wear it so seldom (I rarely wear jewelry at all) that I have to polish the thing every time I want to wear it. The little silver mirrors tarnish *real* easy and are rather fiddly to polish up.

Have you tried the aluminum foil-hot-water dip?  Failing that, a 
jeweler's rouge cloth (silver polishing cloth) is easy to deal with and 
not messy.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Hi folks... sorry about the cross post...  I've lost a link that I need - 
pretty desperately...  sigh

	Was it on this list that the link to the folding stool recently came 
across?  It was part of a larger recent archeological excavation.

	Hoping someone can send me the link to the site again.

	Bridgette,   who is irked at herself for a lack of foresight...   

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When I was reading the news this morning, this popped up:

http://edition.cnn.com/2004/WORLD/europe/02/18/king.henry.wives.reut/i
ndex.html

It's about a pair of soccer shoes that Henry VIII ordered, but I was 
intrigued by the work done by the woman who found the order in an 
order for Henry VIII shoes. I would *love* to talk to her!

Marc, have you heard of her?

Kat
<kat@redtrollforge.com>


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Date: Wed, 18 Feb 2004 09:50:24 -0800
Subject: Re: [h-cost] Tudor Shoes!
From: Lynn Downward <LDownward@chori.org>
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How interesting! I wonder if maybe he gave them away after wearing them once
or twice, such as when our presidents and governors sign something with
several pens and give them away to the people attending the signing. I can't
imagine anyone, even Henry VIII or Imelda Marcos, wearing that many shoes in
six months and keeping them around.

LynnD

On 2/18/04 9:28 AM, "kat@grendal.rain.com" <kat@grendal.rain.com> wrote:

> When I was reading the news this morning, this popped up:
> 
> http://edition.cnn.com/2004/WORLD/europe/02/18/king.henry.wives.reut/i
> ndex.html
> 
> It's about a pair of soccer shoes that Henry VIII ordered, but I was
> intrigued by the work done by the woman who found the order in an
> order for Henry VIII shoes. I would *love* to talk to her!
> 
> Marc, have you heard of her?
> 
> 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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Was this the one you needed?
http://www.southendmuseums.co.uk/ 
This page links to another museum site with more information.

Janet
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Janet!   THANK YOU!  Yes that was it.  Bridgette

>Was this the one you needed?
>http://www.southendmuseums.co.uk/
>This page links to another museum site with more information.
>
>Janet

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Maybe there was a tamer "court" version of football, after all, this was
1526 before Henry started to morph from the very athletic, plus 6' ft golden
boy of European royalty into the way more famous Holbein image imprinted on
the collective public mind, or ol' Bluff King Hal ordered them for show(as
he had a custom-made royal sailor outfit, complete with whistle, I believe,
made for the launch of the "Mary Rose")when attending a football match.  Or
they could have been made for a court masque with a football theme.

Cindy Abel

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <17721371.1077122962412.JavaMail.root@wamui10.slb.atl.earthlink.net>
Subject: Re: [h-cost] Re:  Bunad (WAS: Re: Norwegian 1500s)
Date: Wed, 18 Feb 2004 20:33:24 +0100
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Hi.
I two inherrited a very beautifull "Sřlvje" from my grandmother. She had it
from Norway.
But i gave it on to my brothers daughter, wich then can carry it on to her
daughter, etc.
My grandmother used it as a broche to close a neck shawl.
I also inherrited a ring wich she had. It is special because she is wearing
that ring in a portrait, my grandfather painted of her. That ring also went
to my brothers daughter.

Bjarne

----- Original Message ----- 
From: "Chris Laning" <claning@igc.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 18, 2004 5:49 PM
Subject: [h-cost] Re: Bunad (WAS: Re: Norwegian 1500s)


> Cynthia Virtue wrote:
>
> >I was also really taken with the traditional jewelry, sřlje, which are
> >round brooches with hanging dished circles.  Modest ones are two or
> >three inches across, and ones for weddings and such are larger!
>
> Yes, I bought one while I was there. They twinkle as you move :)
>
> The only problem I have with mine is that I wear it so seldom (I rarely
wear jewelry at all) that I have to polish the thing every time I want to
wear it. The little silver mirrors tarnish *real* easy and are rather fiddly
to polish up.
>
>
> ____________________________________________________________
> 0  Chris Laning
> |  <claning@igc.org>
> +  Davis, California
> ____________________________________________________________
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>


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From h-costume-bounces@indra.com  Wed Feb 18 15:15:39 2004
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Subject: [h-cost] RE: Tudor Shoes!
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>From: kat@grendal.rain.com
>It's about a pair of soccer shoes that Henry VIII ordered, but I was
>intrigued by the work done by the woman who found the order in an
>order for Henry VIII shoes. I would *love* to talk to her!
>Marc, have you heard of her?

The name does not sound familiar - other than there is a Dr. Maria Hayward 
at the Textile Concervation center at the University of Southampton.

I will say that calling Tudor era ball games "football" seems misleading, 
since they more resembled the modern fan riots, than the game :)   (no 
teams, no separation of fans from "players" - just multiple mobs trying to 
posess a ball and move it from one place to another) - my guess is that 
Henry really did take part.

Marc

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From h-costume-bounces@indra.com  Wed Feb 18 15:16:09 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] new addiction
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Sigh!
Today i found another thing wich makes me addicted.
An embroidery shop in Copenhagen started to sell silk ribbon for embroidery.................
Sigh...............

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From h-costume-bounces@indra.com  Wed Feb 18 16:48:15 2004
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Subject: RE: [h-cost] Re:  Bunad (WAS: Re: Norwegian 1500s)
Date: Wed, 18 Feb 2004 15:47:09 -0600
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Having most of my jewelry silver, I have learned a trick or two.
When storing them, either store the silver item in one of those anti tarnish
silverware boxes or  keep in a ziplock bag.
As for cleaning I like to use the jewelers cloth, though if the item can
handle it I use tarnX then a silver polish to help seal the item a bit. I
don't use the tarnX unless it is necessary.
I will have to try the aluminum trick sometime.

De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Chris Laning
Sent: Wednesday, February 18, 2004 10:49 AM
To: Historical Costume
Subject: [h-cost] Re: Bunad (WAS: Re: Norwegian 1500s)


Cynthia Virtue wrote:

>I was also really taken with the traditional jewelry, sřlje, which are
>round brooches with hanging dished circles.  Modest ones are two or
>three inches across, and ones for weddings and such are larger!

Yes, I bought one while I was there. They twinkle as you move :)

The only problem I have with mine is that I wear it so seldom (I rarely wear
jewelry at all) that I have to polish the thing every time I want to wear
it. The little silver mirrors tarnish *real* easy and are rather fiddly to
polish up.


____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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From h-costume-bounces@indra.com  Wed Feb 18 17:00:53 2004
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Bunad (WAS: Re: Norwegian 1500s)
Date: Wed, 18 Feb 2004 15:47:12 -0600
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I am not sure how to reply to this as I am not sure of the question.
I am looking for 1500's Norwegian costumes or earlier. The bunad is a
starting point in that I have said that there are hints in the styles that
look similar to dresses of other countries during the 1500s or earlier. The
apron was quite popular during the 1500s in the Germanic Principalities,
Northern France, Dutch, Danish, and Sweden. So I feel that there is a
possibility that aprons might have been worn by the Norwegian.
Does this make sense?

De
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lloyd Mitchell
Sent: Wednesday, February 18, 2004 7:37 AM
To: Historical Costume
Subject: Re: [h-cost] Bunad (WAS: Re: Norwegian 1500s)


How do these costumes relate to the Danish peasant costumes of the 18th-19th
C that Bjarne posted in the last few days? If the apron is one of the
distinctive factors, how far back was the apron a true part of ethnic
identity. One certainly finds it in the French regional costume too.
Kathleen
----- Original Message -----
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 18, 2004 6:28 AM
Subject: RE: [h-cost] Bunad (WAS: Re: Norwegian 1500s)


> Looking at some of the Bunads I can see some of the styles look to have
some
> Germanic 1400s or 1500s style to them. There are also some that look like
> they may have evolved from the old Norse apron dress.
> I am wondering if there has ever been an example of an Norse apron dress
and
> if there is an example of how the straps were worn in the back. If so, was
> that way the most common way to wear it or not?
> I have noticed one consistency among the Scandinavian and Germanic regions
> is the apron. If the bunads are any indication, I would say that
Norwegians
> in the 1500s might have probably worn aprons.
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Kate M Bunting
> Sent: Wednesday, February 18, 2004 2:59 AM
> To: h-costume@indra.com
> Subject: [h-cost] Bunad (WAS: Re: Norwegian 1500s)
>
>
>
>
> >>> claning@igc.org 18/02/04 05:32:55 >>> wrote:
>
> > Norway has a system of "official" folk costumes (bunader)
> >for each province. Most, if not all, of them were codified in the
> >"folk revival" movement of the very early 20th century -- 1911 is the
>
> >date that sticks in my mind for some reason, [snip]
>
> >There was, I should point out, quite a bit of political baggage
> >attached to this particular "folk revival," since IIRC Norway was
> >either pushing for, or had just achieved, its independence, after
> >being subject to the Danish crown for quite a long time.
>
> Prince Carl of Denmark and his British wife Princess Maud became King
> and Queen of an independent Norway in 1905.
>
> Kate Bunting (whose godfather is Norwegian)
> _______________________________________________
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> _______________________________________________
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>

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
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References: <6176487E.4A6D7B90.0BD9917F@aol.com>
Subject: Re: [h-cost] Costuming/Clothing/History Magazines
Date: Wed, 18 Feb 2004 17:33:46 -0500
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Pieceworks! This magazine is the most interesting I think for anyone
interested in any kind of handwork from the past. The articles are
historical, ethnical,and totally interesting for people interested in how
stitchery gets passed from one generation to the next. This past year alone
has revealed so much from both the 18th and 19th C that is germane for those
interested in Historical Costuming! Whether it is embroidery, knitting,
knotting, lace making, hardanger, weaving, beading....You name it, the
articles are well supported with proper research and enthusiasm for
challenging the contemporary needleworker to  "pass it on".
Kathleen   Original Message ----- 
From: <Kitsune242@aol.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 18, 2004 11:28 AM
Subject: [h-cost] Costuming/Clothing/History Magazines


> Greetings All,
>
> I am looking for a couple of interesting magazines to give a friend for
her birthday.  She already gets Threads.  So I was wondering if any of you
have any other suggestions.
>
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
Kenneth Cole
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Subject: Re: [h-cost] new addiction
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In a message dated 2/18/2004 3:15:59 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:

> Sigh!
> Today i found another thing wich makes me addicted.
> An embroidery shop in Copenhagen started to sell silk ribbon for 
> embroidery.................
> 

I've seen that in the States for years now. Good color range, no?

These narrow silk ribbons are great for running through casings in chemise 
necklines or shirt cuffs and the like.
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Greetings Everyone!

I need some help. I hail from the land of Aquaterra in An Tir (Snohomish County, WA-namely Everett). Being of Scottish blood, sometimes my mouth gets the better of me. I managed to talk my way into costuming Fortinbras (a sequel to Hamlet written in 1991). I need every ounce of help I can get on ideas for costumes. It would be late period 1580-1630s??.
Please email me any suggestions or links.
THANK YOU THANK YOU THANK YOU!

Brandy Deming
Queen's Corner Publishing
Handmade personalized books, costumes and toys for children.
425.252.7555
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From h-costume-bounces@indra.com  Wed Feb 18 18:54:36 2004
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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
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If she gets Threads, she might be interested in Belle Armoire.
It's an art-to-wear magazine. Beautiful for inspiration. Almost
a cross between Threads and a costuming magazine.

Sheryl Nance-Durst

At 11:28 AM 2/18/04 -0500, you wrote:
>Greetings All,
>
>I am looking for a couple of interesting magazines to give a friend for 
>her birthday.  She already gets Threads.  So I was wondering if any of you 
>have any other suggestions.
>
>Kit
>If you walk a mile in someone else's shoes, do you get to keep them? - 
>Kenneth Cole
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume



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If you have a copy of the Branagh "Hamlet", check out Queen Gertrude's
ladies-in-waiting- they're wearing bunads, frequently with the short jacket.
We got a good grasp on bunads several years ago, when we were doing the
Christmas Revels Scandinavian show.  We didn't just get to fake 19c
Norweigian, we also got to fake 19c Danish, Swedish, and Finnish.  It
actually looked pretty good next to the real stuff on the "talent" from
Norway and Finland.
                         -Helen/Aidan


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Brandy Deming wrote:

> Greetings Everyone!
> 
> I managed to talk my way into costuming Fortinbras (a sequel to Hamlet written in 1991). I need every ounce of help I can get on ideas for costumes. It would be late period 1580-1630s??.
> Please email me any suggestions or links.
> THANK YOU THANK YOU THANK YOU!
> 

Well, on the one end of the scale there is Janet Arnold's _Patterns of 
Fashion 1560-1620 _, at bookstores everywhere. On the other hand, if you 
have volunteer sewers who rely on commercial patterns there is 
Simplicity 5574, which almost looks right and may be acceptable for 
stage use.


Dawn



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To: Historical Costume <h-costume@indra.com>
From: "J.E. Marshall" <jemarshall@fuse.net>
Subject: Re: [h-cost] 16th century Polish?
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Here are a couple of sites for 17th century. Fortunately, many of the rural 
dress changes little in that area.

Jennifer MC
http://www.kismeta.com/diGrasse/PoleCostume.htm

This one is stills from a film set in the 17th century, but good to get 
ideas from
http://www.ogniem-i-mieczem.pl/english/film.htm

>>I have a friend who is looking for a faire outfit that reflects his Polish
>>heritage.
>>
>>Can anyone recommend any books or sites with information on late 16th
>>Century Polish clothing for men?  (I already checked that link off Drea's
>>site).  I'm afraid that though I am half-Polish myself, I know next to
>>nothing about this area.
>>
>>Wendy Z
>>looking up pictures in
>>Chicago, IL

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Sheryl Nance-Durst wrote:

> If she gets Threads, she might be interested in Belle Armoire.
> It's an art-to-wear magazine. Beautiful for inspiration. Almost
> a cross between Threads and a costuming magazine.

Wow!  Here's their website with a highlight of the current issue:

http://www.stampington.com/html/ba_win04_sprds.html

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Oscar Movie Watch:  Lust for Life: Movie about Vincent Van Gogh's life.  It is on Turner Classic Movies Friday, 02/20/2004, 3:30 AM (Eastern time).  You can go to their website and see a video on how the movie was made.  More about the film on:
http://www.turnerclassicmovies.com/ThisMonth/Article/0,,66921|66922|31554,00.html  

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
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thank you, thank you!



----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 18, 2004 4:43 PM
Subject: Re: [h-cost] Help!


> Brandy Deming wrote:
>
> > Greetings Everyone!
> >
> > I managed to talk my way into costuming Fortinbras (a sequel to Hamlet
written in 1991). I need every ounce of help I can get on ideas for
costumes. It would be late period 1580-1630s??.
> > Please email me any suggestions or links.
> > THANK YOU THANK YOU THANK YOU!
> >
>
> Well, on the one end of the scale there is Janet Arnold's _Patterns of
> Fashion 1560-1620 _, at bookstores everywhere. On the other hand, if you
> have volunteer sewers who rely on commercial patterns there is
> Simplicity 5574, which almost looks right and may be acceptable for
> stage use.
>
>
> Dawn
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] Re: Norwegian 1500s (WAS: RE: Bunad)
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At 3:47 PM -0600 2/18/04, otsisto wrote:
>I am looking for 1500's Norwegian costumes or earlier. The bunad is a
>starting point in that I have said that there are hints in the styles that
>look similar to dresses of other countries during the 1500s or earlier.

Sorry about the digression into the 19th century; it's just that your 
post brought back some happy memories :)

*          *           *          *          *          *          *          *

You also wrote:
>I am wondering if there has ever been an example of an Norse apron dress and
>if there is an example of how the straps were worn in the back. If so, was
>that way the most common way to wear it or not? ...[snip]...
>
>The apron was quite popular during the 1500s in the Germanic 
>Principalities, Northern France, Dutch, Danish, and Sweden. So I 
>feel that there is a possibility that aprons might have been worn by 
>the Norwegian. Does this make sense?

Ah. One thing that might be confusing you is the phrase "Norse apron 
dress." This indeed is a style from earlier than 1500, in fact quite 
a bit earlier. The first two sources listed below should have some 
information on it.

It is not a dress with an apron, in the way we usually think of the 
terms. It is a different kind of garment, worn by women in the Viking 
era as an outer "dress" over an inner gown. It is described as an 
"apron dress" because when it was first being reconstructed in the 
1960s, it was thought to consist of two separate rectangular panels 
of cloth, one worn in the front (called the "front apron") and one in 
the back (the "back apron").

I won't go into all the details, but it is now thought that in most 
cases it was probably a sewn-together,  tube-shaped garment that 
draped loosely over the inner gown. So "apron dress" is something of 
a misnomer, but I can see why it would leave you thinking about 
aprons.

*          *           *          *          *          *          *          *

As for sources --   there actually seems to be a fair amount of 
information about clothing during the "Viking era" (roughly late 800s 
to about 1100). You can find more information about this at sites 
like:
     Carolyn Priest-Dorman's web page <http://www.cs.vassar.edu/~capriest/>
     The "Viking Answer Lady" at <http://www.vikinganswerlady.com>

I know there is also information about Scandinavian clothing in the 
medieval era, but I'm not as certain where to start looking. You 
might ask Marc Carlson; he has a page on the (men's) garments from 
Boksten at:
      http://www.personal.utulsa.edu/~marc-carlson/cloth/bockhome.html

All these are just places to start. As is always the case, the thing 
to do when no one seems to have the answers you're looking for is to 
ask the Magic Reference Question: "Well, then -- can you think of 
someone else who MIGHT know, and what's their address, and may I tell 
them you sent me?" Sometimes you have to go from one person to 
another to another, and it may take two or three "wrong" people 
before you finally find the right one.

Hope this helps --
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
_________________________________________________________
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

From h-costume-bounces@indra.com  Thu Feb 19 07:41:58 2004
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Norwegian 1500s (WAS: RE: Bunad)
Date: Thu, 19 Feb 2004 06:40:18 -0600
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That is alright, I like to hear them. It helped me revisit a site and got
closer looks at the bunads which givens me a theory. The back of the old
Norse looking "apron" bunad, I noticed that the shoulder blades were
exposed. If these were based on the old Norse apron dress (this is not
saying they are) but if they were, then perhaps the back could indicate that
the straps on the original dress were crossed in the back. This is just
theory and no hard evidence for it.

De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Chris Laning
Sent: Thursday, February 19, 2004 12:28 AM
To: Historical Costume
Subject: [h-cost] Re: Norwegian 1500s (WAS: RE: Bunad)


At 3:47 PM -0600 2/18/04, otsisto wrote:
>I am looking for 1500's Norwegian costumes or earlier. The bunad is a
>starting point in that I have said that there are hints in the styles that
>look similar to dresses of other countries during the 1500s or earlier.

Sorry about the digression into the 19th century; it's just that your
post brought back some happy memories :)

*          *           *          *          *          *          *
*

You also wrote:
>I am wondering if there has ever been an example of an Norse apron dress
and
>if there is an example of how the straps were worn in the back. If so, was
>that way the most common way to wear it or not? ...[snip]...
>
>The apron was quite popular during the 1500s in the Germanic
>Principalities, Northern France, Dutch, Danish, and Sweden. So I
>feel that there is a possibility that aprons might have been worn by
>the Norwegian. Does this make sense?

Ah. One thing that might be confusing you is the phrase "Norse apron
dress." This indeed is a style from earlier than 1500, in fact quite
a bit earlier. The first two sources listed below should have some
information on it.

It is not a dress with an apron, in the way we usually think of the
terms. It is a different kind of garment, worn by women in the Viking
era as an outer "dress" over an inner gown. It is described as an
"apron dress" because when it was first being reconstructed in the
1960s, it was thought to consist of two separate rectangular panels
of cloth, one worn in the front (called the "front apron") and one in
the back (the "back apron").

I won't go into all the details, but it is now thought that in most
cases it was probably a sewn-together,  tube-shaped garment that
draped loosely over the inner gown. So "apron dress" is something of
a misnomer, but I can see why it would leave you thinking about
aprons.

*          *           *          *          *          *          *
*

As for sources --   there actually seems to be a fair amount of
information about clothing during the "Viking era" (roughly late 800s
to about 1100). You can find more information about this at sites
like:
     Carolyn Priest-Dorman's web page <http://www.cs.vassar.edu/~capriest/>
     The "Viking Answer Lady" at <http://www.vikinganswerlady.com>

I know there is also information about Scandinavian clothing in the
medieval era, but I'm not as certain where to start looking. You
might ask Marc Carlson; he has a page on the (men's) garments from
Boksten at:
      http://www.personal.utulsa.edu/~marc-carlson/cloth/bockhome.html

All these are just places to start. As is always the case, the thing
to do when no one seems to have the answers you're looking for is to
ask the Magic Reference Question: "Well, then -- can you think of
someone else who MIGHT know, and what's their address, and may I tell
them you sent me?" Sometimes you have to go from one person to
another to another, and it may take two or three "wrong" people
before you finally find the right one.

Hope this helps --
--
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
_________________________________________________________
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

_______________________________________________
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Subject: [h-cost] 1500s Sweden
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I'm not sure if it was this list or another. Someone was looking for
1400s -1500s Swedish outfits.
I found this

http://inky.library.yale.edu/medwomen/04183209.html

No# 60

De

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: [h-cost] RE: Tudor Shoes!
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>>> marccarlson20@hotmail.com 18/02/04 19:54:29 >>>.
>>From: kat@grendal.rain.com 
>>It's about a pair of soccer shoes that Henry VIII ordered, but I was
>>intrigued by the work done by the woman who found the order in an
>>order for Henry VIII shoes. I would *love* to talk to her!
>>Marc, have you heard of her?

>I will say that calling Tudor era ball games "football" seems
misleading, 
>since they more resembled the modern fan riots, than the game :)  

...and calling it "soccer" even more so, since it long pre-dates the
Football Association!
On the subject of football and royalty, an old-style "free-for-all"
football game is traditionally played on Shrove Tuesday at Ashbourne
here in Derbyshire. Nowadays a famous person is invited to start the
game off by tossing the ball to the players, and last year Prince
Charles did so. I don't suppose he was required to wear football boots,
though!

__________________________________________________________


Kate Bunting
Library, University of Derby
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>  On the subject of football and royalty, an
> old-style "free-for-all" football game is traditionally played on
> Shrove Tuesday at Ashbourne here in Derbyshire. Nowadays a famous
> person is invited to start the game off by tossing the ball to the
> players, and last year Prince Charles did so. I don't suppose he was
> required to wear football boots, though!

Perhaps Henry VIII, being the clothes horse he seemed to be, wanted a 
pair of football boots even if Prince Charles wasn't interested or 
required to have them.

Kat
<kat@redtrollforge.com>


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Katie Lewis Tempe, AZ I do American Civil War and SCA.  In the SCA I do mainly mid-late 16th century English and Russian.  The latter is because my husband has a Russian persona.  For both periods I have a newly aquired interest in children's clothing as I have a 9 month old son I need to keep clothed.

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




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From: Robin Netherton <robin@shell.nightowl.net>
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Just a quick reminder to the list that I've got two lecture appearances in
the next few weeks:

Feb. 28 (a week from Saturday) I'll be in Philadelphia.  Details at
http://www.cottesimple.com/robin_netherton/lecture_info.htm . I believe
there may be a few spots left.

March 13 I'll be in Springfield, Illinois. Big room, so you can still get
a seat, but advance reservations would be wise. Details here:
http://home.insightbb.com/~swordcliff/robin.html

In each case, I'm giving a full day of lectures -- five in all,
concentrating on women's dress of the 14th and 15th centuries.

I expect I'll be seeing a few h-cost listmembers at both venues.  Please
introduce yourselves!

--Robin

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I was browsing through some books today and was wondering how one goes about puffing muslin. 
What centuries does the double sleeve belong to and what is the history behind it?

:) The Chatterbox
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Status: RO

Oh, drool! I sure wish I could get the opportunity sometime to hear all 
five of them (boy, but you must be really tired at the end of the day!)
--sue, who really enjoyed the ones she *has* heard ;o)

Robin Netherton wrote:

> Just a quick reminder to the list that I've got two lecture appearances in
> the next few weeks:
> 
> Feb. 28 (a week from Saturday) I'll be in Philadelphia.  Details at
> http://www.cottesimple.com/robin_netherton/lecture_info.htm . I believe
> there may be a few spots left.
> 
> March 13 I'll be in Springfield, Illinois. Big room, so you can still get
> a seat, but advance reservations would be wise. Details here:
> http://home.insightbb.com/~swordcliff/robin.html
> 
> In each case, I'm giving a full day of lectures -- five in all,
> concentrating on women's dress of the 14th and 15th centuries.
> 
> I expect I'll be seeing a few h-cost listmembers at both venues.  Please
> introduce yourselves!


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Status: RO

Tell me about it... the only time I'd get to hear it is if she came out
west.


----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, February 19, 2004 9:33 PM
Subject: Re: [h-cost] Lectures upcoming


> Oh, drool! I sure wish I could get the opportunity sometime to hear all
> five of them (boy, but you must be really tired at the end of the day!)
> --sue, who really enjoyed the ones she *has* heard ;o)
>
> Robin Netherton wrote:
>
> > Just a quick reminder to the list that I've got two lecture appearances
in
> > the next few weeks:
> >
> > Feb. 28 (a week from Saturday) I'll be in Philadelphia.  Details at
> > http://www.cottesimple.com/robin_netherton/lecture_info.htm . I believe
> > there may be a few spots left.
> >
> > March 13 I'll be in Springfield, Illinois. Big room, so you can still
get
> > a seat, but advance reservations would be wise. Details here:
> > http://home.insightbb.com/~swordcliff/robin.html
> >
> > In each case, I'm giving a full day of lectures -- five in all,
> > concentrating on women's dress of the 14th and 15th centuries.
> >
> > I expect I'll be seeing a few h-cost listmembers at both venues.  Please
> > introduce yourselves!
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Grace Morris <grace.morris@providenceday.org> wrote
>I came up with 2 possible via OCLC.  They are both from the first half 
>of the 19th century, which MIGHT mean that they have stuff from before 
>the great folk dress "push" of the 19th century.  One never knows...
>
>And if you ever want a feast for the eyes, be in Oslo on May 17, and 
>see thousands of people (at least) dress in traditional folk dress!
>
>Grace/Jessamyn

I was going to say, there's quite a big celebration of Norway Day in 
Edinburgh, which breaks up about the time I get out of work, and it's 
great to see people walking back through town in these spectacular 
outfits.

Jean
-- 
Jean Waddie
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<< Tell me about it... the only time I'd get to hear it is if she came out
> west.>>

Actually, Robin has lectured in the Seattle area - last August - and it was
great!  We had a full house and a very energetic group.

Colleen

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If folks hear of other scholars willing to lecture, do tell us about 
them.  My local SCA group gets very excited about real-history 
information from acadamia.  We brought Ms. Netherton here a few months 
ago and it was great!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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>I was browsing through some books today and was wondering how one goes 
>about puffing muslin.

What's that?

>What centuries does the double sleeve belong to and what is the history 
>behind it?

Which double sleeve are you talking about?  So many centuries and countries 
had these, in one form or another...


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

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On Thu, 19 Feb 2004, Sue Clemenger wrote:

> Oh, drool! I sure wish I could get the opportunity sometime to hear all 
> five of them (boy, but you must be really tired at the end of the day!)

Um, yeah ... :-) Mostly my voice, though.

Fitting people is actually *more* tiring, on the whole. They sent me home
from Boise in a bucket.

--Robin

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Subject: [h-cost] early medieval sheep
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Greetings,

I was wondering if anyone knew a source for images of early medieval 
sheep. I have found images on line for the Soay, but am trying to find 
pictures of the breeds that appeared between the Soay and the Merino.  
Do those breeds even exist today?  Thanks!

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

Public Relations Manager
Sauron/Voldemort 2004

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The best place I can think to start is with a book called "Sheep and 
Man"  by Ryder.  It is -the- work concerning sheep history & breeds.
Good luck.


>Greetings,
>
>I was wondering if anyone knew a source for images of early medieval 
>sheep. I have found images on line for the Soay, but am trying to find 
>pictures of the breeds that appeared between the Soay and the Merino.
>Do those breeds even exist today?  Thanks!
>
>Althea Turner
>*** althea@alfalfapress.com
>*** http://www.alfalfapress.com
>
>Public Relations Manager
>Sauron/Voldemort 2004
>
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References: <4.3.1.2.20040220072916.04c34ea0@mail.frys.com>
Subject: Re: [h-cost] limp muslin
Date: Fri, 20 Feb 2004 12:00:11 -0800
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I saw a picture of it. it was the large bell sleeves with the muslin used
for the interior sleeve, it was puffed enough that it filled the entire
sleeve. The caption said it was puffed.
I would like to know about any and all double sleeved garb :)


----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, February 20, 2004 7:30 AM
Subject: Re: [h-cost] limp muslin


>
> >I was browsing through some books today and was wondering how one goes
> >about puffing muslin.
>
> What's that?
>
> >What centuries does the double sleeve belong to and what is the history
> >behind it?
>
> Which double sleeve are you talking about?  So many centuries and
countries
> had these, in one form or another...
>
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               //// \\\
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She does come out west <g>, which is when I got to meet her--at a 
weekend workshop in Boise.  The experience was well worth the travel 
cost, and I'd highly recommend it to anyone who has the chance to go....
--sue

Brandy Deming wrote:

> Tell me about it... the only time I'd get to hear it is if she came out
> west.
> 
> 
> ----- Original Message ----- 
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, February 19, 2004 9:33 PM
> Subject: Re: [h-cost] Lectures upcoming
> 
> 
> 
>>Oh, drool! I sure wish I could get the opportunity sometime to hear all
>>five of them (boy, but you must be really tired at the end of the day!)
>>--sue, who really enjoyed the ones she *has* heard ;o)
>>
>>Robin Netherton wrote:
>>
>>
>>>Just a quick reminder to the list that I've got two lecture appearances
> 
> in
> 
>>>the next few weeks:


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Subject: RE: [h-cost] limp muslin
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Ya know I'm tied when I read limp mussel instead of limp muslin. :)
Hope everyone has a wonderful weekend!
De
I also saw muscle on the second reading but I don't think I should go there.


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Friday, February 20, 2004 9:30 AM
To: Historical Costume
Subject: Re: [h-cost] limp muslin



>I was browsing through some books today and was wondering how one goes
>about puffing muslin.

What's that?

>What centuries does the double sleeve belong to and what is the history
>behind it?

Which double sleeve are you talking about?  So many centuries and countries
had these, in one form or another...


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

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Subject: Re: [h-cost] limp muslin
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>I saw a picture of it. it was the large bell sleeves with the muslin used
>for the interior sleeve, it was puffed enough that it filled the entire
>sleeve. The caption said it was puffed.
>I would like to know about any and all double sleeved garb :)

I'm sure you do, but without your being specific I'd have to tell you about 
perhaps twenty or thirty puffy sleeves I have seen - without knowing which 
one you really meant.  Please be specific, so I can help you?  Like, was 
there a date on your picture?


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

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Her name is Dr. Maria Hayward, and she works/lectures at the Textile 
Conservation Centre in the Winchester School of Art (I'm studying 
there). She's very nice, and interesting, and has done a lot of work on 
Henrys VII and VIII. She's also organising the forthcoming conference 
on textile cultures between Spain and England from 1500, to celebrate 
the 450th anniversary of the wedding of Mary Tudor and Philip of Spain 
which happened in Winchester Cathedral in 1554. It's on the 22nd and 
23rd of July and looks really juicy! If anyone is interested in coming, 
details are at http://www.wsa.soton.ac.uk/textilecultures.htm . I got a 
look at the abstracts, and there is a good focus on teh sixteenth 
century. Tickets are around Ł60 (??? - don't quote me on that).
>
>
>
>>>> marccarlson20@hotmail.com 18/02/04 19:54:29 >>>.
>>> From: kat@grendal.rain.com
>>> It's about a pair of soccer shoes that Henry VIII ordered, but I was
>>> intrigued by the work done by the woman who found the order in an
>>> order for Henry VIII shoes. I would *love* to talk to her!
>>> Marc, have you heard of her?
>
>> I will say that calling Tudor era ball games "football" seems
> misleading,
>> since they more resembled the modern fan riots, than the game :)
>
> ...and calling it "soccer" even more so, since it long pre-dates the
> Football Association!
> On the subject of football and royalty, an old-style "free-for-all"
> football game is traditionally played on Shrove Tuesday at Ashbourne
> here in Derbyshire. Nowadays a famous person is invited to start the
> game off by tossing the ball to the players, and last year Prince
> Charles did so. I don't suppose he was required to wear football boots,
> though!
>
> __________________________________________________________
>
>


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From h-costume-bounces@indra.com  Sat Feb 21 09:22:42 2004
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All of which reminds me: did that "ghost" at Hampton Court get figured out?

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: <thefrazzledfrau@yahoogroups.com>, <GermanRenCostume@yahoogroups.com>,
   <TheTailor@renaissancetailor.com>,
   "H-Costume@Indra. Com" <h-costume@indra.com>
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Subject: [h-cost] Thought some of you would be interested: JKM adds
	Petersham Grosgrain & 100% Silk Satin SAMPLE CARDS
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Status: RO



Lots of goodies here...sorry for the cross posts.

-----Original Message-----
From: JKM Ribbon and Trims [mailto:newsletter@jkmribbon.net] 
Sent: Friday, February 20, 2004 8:26 PM
To: saragrace@earthlink.net
Subject: ADV: JKM adds Petersham Grosgrain & 100% Silk Satin SAMPLE CARDS


JKM RIBBON & TRIMS
WHOLESALE PRICES for All Your RIBBON and TRIMS!
at    http://www.jkmribbon.com/
WE HAVE MADE SHOPPING for RIBBON and TRIMS
SIMPLE, FUN AND SECURE!

GO TO www.jkmribbon.com and click ALREADY REGISTERED
or REGISTER on www.jkmribbon.com to access our SHOPPING CART WEBSITE

----------------------------------------------------------------------
JKM Ribbon & Trims is
EXCITED TO ANNOUNCE THE ADDITION OF A NEW LINE
OF FINER RIBBONS TO THE JKM SECTION OF OUR
SHOPPING CART WEB SITE.

THIS WEEK WE ADDED

SAMPLE CARDS FOR
THE 100% DOUBLE FACE SILK SATIN
AND FOR
THE PETERSHAM GROSGRAIN.

Go to     http://www.jkmribbon.com/sample.html
and they will be listed in the JKM Sample Card Section !!

To purchase these cards at $9.99 each, Register on www.jkmribbon.com
for access to our shopping cart website.

OVER THE LAST FEW WEEKS, WE ADDED

STRETCH VELVET IN 3 WIDTHS, 8 COLORS ON 11 YARD ROLLS
STRETCH FOLDOVER VELVET IN 2 WIDTHS, 8 COLORS ON 11 YARD ROLLS
STRETCH HALF PILE VELVET IN 8 COLORS ON 11 YARD ROLLS
STRETCH VELVET PIPING IN 8 COLORS ON 33 YARD ROLLS
NON STRETCH VELVET PIPING IN 8 COLORS ON 33 YARD ROLLS

Go to        http://www.jkmribbon.com/rc/velvets.html      to view   VELVETS

100% PURE SILK SATIN RIBBON IN 50 COLORS IN 9 WIDTHS
Go to   http://www.jkmribbon.com/silkribbon.html    to view 100%  PURE SILK

POLYESTER FLOWER GARLAND, TAFFETA GARLAND,
& ORGANDY SHEER GARLAND and

PREMADE RIBBON BOWS in SMALL, MEDIUM and LARGE SIZES.
PACKAGED 100 PIECES PER PACKAGE FOR YOUR BULK NEEDS.
PREMADE BOWS WITH PEARLS

Go to     http://www.jkmribbon.com/rc/ribaccess.html
         to view RIBBON GARLAND AND PREMADE BOWS

PETERSHAM GROSGRAIN - 100% RAYON, SCALLOPED EDGE
THIS FINE WOVEN GROSGRAIN IS AVAILABLE IN 11 WIDTHS
RANGING FROM 1/8"  UP TO 3" WIDE AND 80 COLORS

Go to
http://www.jkmribbon.com/rc/petergros.html   to view  PETERSHAM GROSGRAIN
----------------------------------------------------------------------
In the next few weeks, we will add
other exciting fine ribbons for your business needs..........!

FINE SATINY SILKY FEEL
TAFFETA GINGHAM CHECKS AND STRIPES COMING SOON !!

EACH OF THESE HAS BEEN REQUESTED BY YOU!!

----------------------------------------------------------------------
SPRING RIBBON IS HERE.................

BUY EARLY FOR THE BEST SELECTION!

WE ARE FEATURING NEW SPRING PATTERNS
TO SUPPORT YOUR PROJECTS, DESIGNS and OVERALL BUSINESS NEEDS.

Go to  http://www.jkmribbon.com/prints/spring.html  to view SPRING

----------------------------------------------------------------------
HELPFUL HINTS

YOUR WEB BROWSER
The JKM ONLINE SHOPPING CART WEB SITE works best
with Internet Explorer 6.0 and higher.  It may be difficult to open windows
with earlier versions due to the expansive selection of ribbons and trims on
www.jkmribbon.com

RIBBON COLORS
The best way to view JKM's Ribbon and Trims is to set your monitor at a
BRIGHTNESS level of 65 - 75. This will lighten the screen and make the
colors more vivid.

READY FOR ONLINE SHOPPING
If you are ALREADY REGISTERED  on www.jkmribbon.com
you can access JKM Ribbon & Trims ONLINE SHOPPING CART  web site
by going to     http://www.jkmribbon.com/   and click ALREADY REGISTERED
Enter on the log in screen, the username and password you already have
received.  Please read HOW TO SHOP and have FUN!

If you are NOT REGISTERED, go to http://www.jkmribbon.com/
click Register for JKM's Wholesale Online Shopping Cart
or
Take a tour of our Showroom Website to see our products and some of our
prices before you REGISTER.

Click the RIBBON SEARCH BUTTON and a drop down menu appears to help you
find a type of ribbon.  If you know a ribbon name or ribbon type, click our
KEYWORD SEARCH for links to these ribbons.

We arranged our ribbons by manufacturers, and then by categories like
sheers,  metallics, satins, grosgrain and many others. Each manufacturer's
page contains a description of what each company offers.

Go To    http://www.jkmribbon.com/hints.html    for FAQ's and more Helpful
Hints
---------------------------------------------------------------------

EVERYONE AT JKM RIBBON & TRIMS
APPRECIATES YOUR BUSINESS!

-----------------------------------------------------------------------
We would like your feedback on ribbons and trims that you feel
are needed for your work. Please email JKM at jkmribbon@jkmribbon.com
We would love to hear from you!  The products we have added are based on
your input.

-----------------------------------------------------------------------
You have received this free newsletter from JKM Ribbon
because you are a customer or you have registered for email
updates from JKM.   TO BE REMOVED from the newsletter email list,
Click the following link
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Enter each email address to be removed and we will promptly delete them.
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From h-costume-bounces@indra.com  Sat Feb 21 14:15:21 2004
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Thought some of you would be interested: JKM adds
	Petersham Grosgrain & 100% Silk Satin SAMPLE CARDS
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Thanks for sharing, Saragrace:)
Albra

"Saragrace T. Knauf" <saragrace@earthlink.net> wrote:


Lots of goodies here...sorry for the cross posts.

-----Original Message-----
From: JKM Ribbon and Trims [mailto:newsletter@jkmribbon.net] 
Sent: Friday, February 20, 2004 8:26 PM
To: saragrace@earthlink.net
Subject: ADV: JKM adds Petersham Grosgrain & 100% Silk Satin SAMPLE CARDS


JKM RIBBON & TRIMS
WHOLESALE PRICES for All Your RIBBON and TRIMS!
at http://www.jkmribbon.com/
WE HAVE MADE SHOPPING for RIBBON and TRIMS
SIMPLE, FUN AND SECURE!

GO TO www.jkmribbon.com and click ALREADY REGISTERED
or REGISTER on www.jkmribbon.com to access our SHOPPING CART WEBSITE

----------------------------------------------------------------------
JKM Ribbon & Trims is
EXCITED TO ANNOUNCE THE ADDITION OF A NEW LINE
OF FINER RIBBONS TO THE JKM SECTION OF OUR
SHOPPING CART WEB SITE.

THIS WEEK WE ADDED

SAMPLE CARDS FOR
THE 100% DOUBLE FACE SILK SATIN
AND FOR
THE PETERSHAM GROSGRAIN.

Go to http://www.jkmribbon.com/sample.html
and they will be listed in the JKM Sample Card Section !!

To purchase these cards at $9.99 each, Register on www.jkmribbon.com
for access to our shopping cart website.

OVER THE LAST FEW WEEKS, WE ADDED

STRETCH VELVET IN 3 WIDTHS, 8 COLORS ON 11 YARD ROLLS
STRETCH FOLDOVER VELVET IN 2 WIDTHS, 8 COLORS ON 11 YARD ROLLS
STRETCH HALF PILE VELVET IN 8 COLORS ON 11 YARD ROLLS
STRETCH VELVET PIPING IN 8 COLORS ON 33 YARD ROLLS
NON STRETCH VELVET PIPING IN 8 COLORS ON 33 YARD ROLLS

Go to http://www.jkmribbon.com/rc/velvets.html to view VELVETS

100% PURE SILK SATIN RIBBON IN 50 COLORS IN 9 WIDTHS
Go to http://www.jkmribbon.com/silkribbon.html to view 100% PURE SILK

POLYESTER FLOWER GARLAND, TAFFETA GARLAND,
& ORGANDY SHEER GARLAND and

PREMADE RIBBON BOWS in SMALL, MEDIUM and LARGE SIZES.
PACKAGED 100 PIECES PER PACKAGE FOR YOUR BULK NEEDS.
PREMADE BOWS WITH PEARLS

Go to http://www.jkmribbon.com/rc/ribaccess.html
to view RIBBON GARLAND AND PREMADE BOWS

PETERSHAM GROSGRAIN - 100% RAYON, SCALLOPED EDGE
THIS FINE WOVEN GROSGRAIN IS AVAILABLE IN 11 WIDTHS
RANGING FROM 1/8" UP TO 3" WIDE AND 80 COLORS

Go to
http://www.jkmribbon.com/rc/petergros.html to view PETERSHAM GROSGRAIN
----------------------------------------------------------------------
In the next few weeks, we will add
other exciting fine ribbons for your business needs..........!

FINE SATINY SILKY FEEL
TAFFETA GINGHAM CHECKS AND STRIPES COMING SOON !!

EACH OF THESE HAS BEEN REQUESTED BY YOU!!

----------------------------------------------------------------------
SPRING RIBBON IS HERE.................

BUY EARLY FOR THE BEST SELECTION!

WE ARE FEATURING NEW SPRING PATTERNS
TO SUPPORT YOUR PROJECTS, DESIGNS and OVERALL BUSINESS NEEDS.

Go to http://www.jkmribbon.com/prints/spring.html to view SPRING

----------------------------------------------------------------------
HELPFUL HINTS

YOUR WEB BROWSER
The JKM ONLINE SHOPPING CART WEB SITE works best
with Internet Explorer 6.0 and higher. It may be difficult to open windows
with earlier versions due to the expansive selection of ribbons and trims on
www.jkmribbon.com

RIBBON COLORS
The best way to view JKM's Ribbon and Trims is to set your monitor at a
BRIGHTNESS level of 65 - 75. This will lighten the screen and make the
colors more vivid.

READY FOR ONLINE SHOPPING
If you are ALREADY REGISTERED on www.jkmribbon.com
you can access JKM Ribbon & Trims ONLINE SHOPPING CART web site
by going to http://www.jkmribbon.com/ and click ALREADY REGISTERED
Enter on the log in screen, the username and password you already have
received. Please read HOW TO SHOP and have FUN!

If you are NOT REGISTERED, go to http://www.jkmribbon.com/
click Register for JKM's Wholesale Online Shopping Cart
or
Take a tour of our Showroom Website to see our products and some of our
prices before you REGISTER.

Click the RIBBON SEARCH BUTTON and a drop down menu appears to help you
find a type of ribbon. If you know a ribbon name or ribbon type, click our
KEYWORD SEARCH for links to these ribbons.

We arranged our ribbons by manufacturers, and then by categories like
sheers, metallics, satins, grosgrain and many others. Each manufacturer's
page contains a description of what each company offers.

Go To http://www.jkmribbon.com/hints.html for FAQ's and more Helpful
Hints
---------------------------------------------------------------------

EVERYONE AT JKM RIBBON & TRIMS
APPRECIATES YOUR BUSINESS!

-----------------------------------------------------------------------
We would like your feedback on ribbons and trims that you feel
are needed for your work. Please email JKM at jkmribbon@jkmribbon.com
We would love to hear from you! The products we have added are based on
your input.

-----------------------------------------------------------------------
You have received this free newsletter from JKM Ribbon
because you are a customer or you have registered for email
updates from JKM. TO BE REMOVED from the newsletter email list,
Click the following link
http://www.jkmribbon.net/~jkmribbo/scgi-bin/unsubscribe.html
Enter each email address to be removed and we will promptly delete them.
----------------------------------------------------------------------


_______________________________________________
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Subject: [h-cost] Semi-OT: Pattern Filing
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Hello all,

Sorry for the semi off-topic post.  The time has come for me to plan for a 
vast reorganization of my sewing area (the tiny space that it is), for when I 
get home during my college's spring break.  At the moment, I have large 
quantities of various things, many of which are scattered...everywhere!  So.  One of 
the first steps is to organize my growing pattern collection.  In the latest 
issue of Vogue Patterns, I spotted "The Pattern Finder" filing system.  Is this 
worth the price ($13 plus shipping for three boxes that hold 30 patterns)?  Or 
would I be better off making my own, using various boxes?  These things look 
neat and tidy, but are there better alternatives?

Thanks!

Christine
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From h-costume-bounces@indra.com  Sat Feb 21 15:33:51 2004
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Subject: Re: [h-cost] Semi-OT: Pattern Filing
From: ruthanne baumgartner <ruthanneb@mindspring.com>
To: Historical Costume <h-costume@indra.com>
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I haven't seen this Vogue filing system, so I can't comment directly on it.
But a friend gave me last year a box designed for storing and filing
patterns, and I don't use it because half my patterns are the wrong size:
half are the standard commercial-pattern-envelope size that Vogue,
Simplicity, et al. use; the other half are the FolkWear size used by a
couple of historical-pattern publishers and the photocopy machine.
Besides, I rarely have the patience or dexterity to get the patterns back
into their envelopes properly (most of my sewing is while costuming shows,
and in an appropriate frenzy).
What I'm in the midst of doing is putting each pattern into a zip-lock
plastic bag the size of the FolkWear patterns. The picture on the envelope
shows through, but the larger size bag makes it possible to re-fold even
Simplicity patterns neat and flat. I bought these bags wholesale at an
outlet store, so it was an inexpensive way to go. I've also bought a number
of smallish cartons that have a footprint the size of the pattern bags. The
cartons are labeled by gender and period of the costumes inside. I might
make a more specific listing later, but so far this is working fine. The
cartons stack neatly on a couple of shelves in my closet.

--R.A. Baumgartner
scholar-gipsy and costumer
Fairfield, CT



on 2/21/04 2:25 PM, IceGirlNIN@aol.com at IceGirlNIN@aol.com wrote:

> Hello all,
> 
> Sorry for the semi off-topic post.  The time has come for me to plan for a
> vast reorganization of my sewing area (the tiny space that it is), for when I
> get home during my college's spring break.  At the moment, I have large
> quantities of various things, many of which are scattered...everywhere!  So.
> One of 
> the first steps is to organize my growing pattern collection.  In the latest
> issue of Vogue Patterns, I spotted "The Pattern Finder" filing system.  Is
> this 
> worth the price ($13 plus shipping for three boxes that hold 30 patterns)?  Or
> would I be better off making my own, using various boxes?  These things look
> neat and tidy, but are there better alternatives?
> 
> Thanks!
> 
> Christine
> _______________________________________________
> 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] Semi-OT: Pattern Filing
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re; pattern storage.

I've never had much luck with carboard boxes, since every time you try to
fit just one more in, it's time for the duct tape.  I switched to plastic
totes.  Sterilite makes a clear one with a white lid and grey snapping
handles.  I don't remember the size by volume, but they're about 18"L x 12"W
x 6"H.  They stack nicely.  I've bought them in both Target and K-mart, and
they probably have them at Walmart.  Each one cost about $4 US, and holds
30-35 patterns.  Which is good, because I pigged out big time at JoAnn's
this winter...
                   -Helen/Aidan


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> re; pattern storage.
> 
> I've never had much luck with carboard boxes, since every time you try
> to fit just one more in, it's time for the duct tape.  I switched to
> plastic totes.  Sterilite makes a clear one with a white lid and grey
> snapping handles.  I don't remember the size by volume, but they're
> about 18"L x 12"W x 6"H.  They stack nicely.  I've bought them in both
> Target and K-mart, and they probably have them at Walmart.  Each one
> cost about $4 US, and holds 30-35 patterns.  Which is good, because I
> pigged out big time at JoAnn's this winter...
>                    -Helen/Aidan

The problem with plastic is that it is not conductive to long time 
storage. It can cause damage to the paper. But that takes time and if 
you only want to store them for a few years and don't care about 
deterioration over the long run, go for it.

However, if you want to have them stick around for posterity, you 
need to use acid free cardboard. It helps cut down on the 
deterioration. (Of course, if you really want to cut down on the 
deterioration, you need to treat the patterns themselves with some of 
the products used to prevent newspapers from degrading. There are 
acid/lignen neutralizers which you can usually find in scrap book or 
archival supply stores.)

The boxes themselves are pretty easy to find, especially if you have 
any good comic book stores around. The size for comic books is good 
for regular patterns and the ones for magazines works pretty well for 
the oversized patterns.

Kat
<kat@redtrollforge.com>


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Sounds like The way to go, re packaging. I would shop for plastic boxes (In
office supplies?) for the ultimate storage.  I have bought sooo many
cardboard neat box sets through the years, and they Always have to be
replaced with use.  Unless you have some climate control of the storage
area, tree products will fail consistently. At least this is how it is in
the central north east. Too cold, too hot, too humid, not enough
humidity....Alas
Kathleen
----- Original Message ----- 
From: "ruthanne baumgartner" <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, February 21, 2004 3:33 PM
Subject: Re: [h-cost] Semi-OT: Pattern Filing


> I haven't seen this Vogue filing system, so I can't comment directly on
it.
> But a friend gave me last year a box designed for storing and filing
> patterns, and I don't use it because half my patterns are the wrong size:
> half are the standard commercial-pattern-envelope size that Vogue,
> Simplicity, et al. use; the other half are the FolkWear size used by a
> couple of historical-pattern publishers and the photocopy machine.
> Besides, I rarely have the patience or dexterity to get the patterns back
> into their envelopes properly (most of my sewing is while costuming shows,
> and in an appropriate frenzy).
> What I'm in the midst of doing is putting each pattern into a zip-lock
> plastic bag the size of the FolkWear patterns. The picture on the envelope
> shows through, but the larger size bag makes it possible to re-fold even
> Simplicity patterns neat and flat. I bought these bags wholesale at an
> outlet store, so it was an inexpensive way to go. I've also bought a
number
> of smallish cartons that have a footprint the size of the pattern bags.
The
> cartons are labeled by gender and period of the costumes inside. I might
> make a more specific listing later, but so far this is working fine. The
> cartons stack neatly on a couple of shelves in my closet.
>
> --R.A. Baumgartner
> scholar-gipsy and costumer
> Fairfield, CT
>
>
>
> on 2/21/04 2:25 PM, IceGirlNIN@aol.com at IceGirlNIN@aol.com wrote:
>
> > Hello all,
> >
> > Sorry for the semi off-topic post.  The time has come for me to plan for
a
> > vast reorganization of my sewing area (the tiny space that it is), for
when I
> > get home during my college's spring break.  At the moment, I have large
> > quantities of various things, many of which are scattered...everywhere!
So.
> > One of
> > the first steps is to organize my growing pattern collection.  In the
latest
> > issue of Vogue Patterns, I spotted "The Pattern Finder" filing system.
Is
> > this
> > worth the price ($13 plus shipping for three boxes that hold 30
patterns)?  Or
> > would I be better off making my own, using various boxes?  These things
look
> > neat and tidy, but are there better alternatives?
> >
> > Thanks!
> >
> > Christine
> > _______________________________________________
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From h-costume-bounces@indra.com  Sat Feb 21 17:46:54 2004
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Semi-OT: Pattern Filing
Date: Sat, 21 Feb 2004 16:46:14 -0600
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My mother in law uses the Ziploc method and has for the past 20 years with
no problems of deterioration to the patterns. My mother used the Ziploc
method for years as well the only time there was a problem was not with
patterns but old books.

De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of kat@grendal.rain.com
Sent: Saturday, February 21, 2004 3:21 PM
To: Historical Costume
Subject: Re: [h-cost] Semi-OT: Pattern Filing



> re; pattern storage.
>
> I've never had much luck with carboard boxes, since every time you try
> to fit just one more in, it's time for the duct tape.  I switched to
> plastic totes.  Sterilite makes a clear one with a white lid and grey
> snapping handles.  I don't remember the size by volume, but they're
> about 18"L x 12"W x 6"H.  They stack nicely.  I've bought them in both
> Target and K-mart, and they probably have them at Walmart.  Each one
> cost about $4 US, and holds 30-35 patterns.  Which is good, because I
> pigged out big time at JoAnn's this winter...
>                    -Helen/Aidan

The problem with plastic is that it is not conductive to long time
storage. It can cause damage to the paper. But that takes time and if
you only want to store them for a few years and don't care about
deterioration over the long run, go for it.

However, if you want to have them stick around for posterity, you
need to use acid free cardboard. It helps cut down on the
deterioration. (Of course, if you really want to cut down on the
deterioration, you need to treat the patterns themselves with some of
the products used to prevent newspapers from degrading. There are
acid/lignen neutralizers which you can usually find in scrap book or
archival supply stores.)

The boxes themselves are pretty easy to find, especially if you have
any good comic book stores around. The size for comic books is good
for regular patterns and the ones for magazines works pretty well for
the oversized patterns.

Kat
<kat@redtrollforge.com>


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] rice paper
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Dear Kathy.
Thanks a lot for your wonderfull instruktions in using rice paper on embroidery.
It is crazy that i never used that before, because it works so good.
I started a new waistcoat yesterday with this paper, and it works so fine. It is the first time i try to use silk ribbon in embroidery.
If you would like to see, go to:
http://www.my-drewscostumes.dk/chenillesuit.htm
and scroll down to the bottom of the site.
This is the lovely ribbed silk i found in London last year. I think it is very close to the original 18th century fabric called Gros de Tours.

Bjarne


Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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(Swoon!) It's exquisite. :-)

Thank you for sharing!

Arlys

On Sun, 22 Feb 2004 01:08:00 +0100 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> Dear Kathy.
> Thanks a lot for your wonderfull instruktions in using rice paper on 
> embroidery.
> It is crazy that i never used that before, because it works so good.
> I started a new waistcoat yesterday with this paper, and it works so 
> fine. It is the first time i try to use silk ribbon in embroidery.
> If you would like to see, go to:
> http://www.my-drewscostumes.dk/chenillesuit.htm
> and scroll down to the bottom of the site.
> This is the lovely ribbed silk i found in London last year. I think 
> it is very close to the original 18th century fabric called Gros de 
> Tours.
> 
> Bjarne
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Sat Feb 21 19:45:26 2004
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Subject: Re: [h-cost] Semi-OT: Pattern Filing
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IceGirlNIN@aol.com wrote:

> In the latest 
> issue of Vogue Patterns, I spotted "The Pattern Finder" filing system.  Is this 
> worth the price ($13 plus shipping for three boxes that hold 30 patterns)?  Or 
> would I be better off making my own, using various boxes?  These things look 
> neat and tidy, but are there better alternatives?

I buy the pattern boxes sold at Joann's that retail for about two 
dollars. I buy two half yards of complimentary cotton quilting fabric 
and some stitch-witchery by the yard and iron the fabric onto those ugly 
blue boxes. They hold 10 or more patterns apiece, even the larger 
envelopes like Folkwear fit into them, and covered in fabric they are 
attractive in my sewing room.

For the notions, lace, ribbon, beads, buttons, and general crap that 
accumulates I have clear plastic shoeboxes. I cleaned out two 
dollar-stores this past holiday season in a cleaning spree of my own. I 
like the shoebox size because it works for me  on a project basis. 
Beaded trim project, in a box. Embroidered tamari balls, in a box. 
Collected buttons and trim for my husband's next doublet, in a box. They 
stack, they are see-through so I know what's in them, they are cheap, 
and they are easy to grab on my way out the door if I need a quick 
take-along project.

I know not everyone likes plastic because it isn't archival, but I have 
an aging tomcat who, though neutered, still likes to 'mark' his 
territory on a regular basis, and the reality is that plastic protects 
my stuff. It also prevented a huge distaster when a previous landlord 
refused to fix a leaking roof to the point it flooded my sewing room 
once. And when I move, half my sewing room is instantly packed already!



Dawn





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Subject: Re: [h-cost] Semi-OT: Pattern Filing
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> > I've never had much luck with carboard boxes, since every time you try
> > to fit just one more in, it's time for the duct tape.  I switched to
> > plastic totes.  Sterilite makes a clear one with a white lid and grey
> > snapping handles.  I don't remember the size by volume, but they're
> > about 18"L x 12"W x 6"H.  They stack nicely.  I've bought them in both
> > Target and K-mart, and they probably have them at Walmart.  Each one
> > cost about $4 US, and holds 30-35 patterns.  Which is good, because I
> > pigged out big time at JoAnn's this winter...
> >                    -Helen/Aidan
>
>The problem with plastic is that it is not conductive to long time
>storage. It can cause damage to the paper. But that takes time and if
>you only want to store them for a few years and don't care about
>deterioration over the long run, go for it.

Freezer bags don't do that - can't by law because they're for long-term 
food storage.  So bag your patterns in those, as per somebody else's 
suggestion, and box them in anything.  You could even put silica gel 
packets in there with them if you're worried about moisture.  (Buy these 
packets, or save them from things like candy boxes, shoe boxes, 
sushi-wrapper-seaweed packages, etc..)


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

              //// \\\
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Subject: Re: [h-cost] Semi-OT: Pattern Filing
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In a message dated 2/21/2004 10:34:23 PM Eastern Standard Time, 
kayta@frys.com writes:
>The problem with plastic is that it is not conductive to long time
>storage. It can cause damage to the paper. But that takes time and if
>you only want to store them for a few years and don't care about
>deterioration over the long run, go for it.

Freezer bags don't do that - can't by law because they're for long-term 
food storage.  So bag your patterns in those, as per somebody else's 
suggestion, and box them in anything.  You could even put silica gel 
packets in there with them if you're worried about moisture.  (Buy these 
packets, or save them from things like candy boxes, shoe boxes, 
sushi-wrapper-seaweed packages, etc..)

Hmm.  So, I could get myself some nice big boxes from The Container Store or 
Target (Container store's probably cheaper- they have these big plastic boxes 
that don't cost much at all), split them into compartments somehow, put all of 
my patterns in ziploc/freezer bags, and, since I live in the northeast (New 
York), I can get some of those silica gel packets to keep the moisture out.  
Sounds like a plan, and I'm sure my mother will be...vastly pleased by my 
organization (given how messy I tend to be!)  Thank you all!

Christine
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Subject: Re: [h-cost] Semi-OT: Pattern Filing
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I've been using the Ziploc bag storage for at least 10 years.  I have them in a box where they can stand up, so I can easily page through them, seeing the pictures on the front.  The box has room for 2 rows of gallon size bags side by side with the odd size patterns in the back.  I only do this with patterns I have actually taken out of the original envelope - I must have a hundred patterns from JoAnne's dollar sales that I might need for a sleeve shape or something.

Janet
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From h-costume-bounces@indra.com  Sun Feb 22 01:15:29 2004
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Subject: Re: [h-cost] Semi-OT: Pattern Filing
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If you can afford them -file cabinets are the best by far. Sturdy, durable,
protective storage with lots of room and holds almost any size.
You don't need hanging folders but some sort of hanging (or fixed) divider
will make it easier to organize - by company, envelope size, type, etc.

Also manila envelopes for those standard company size ones that will never
fit back into the original envelope - staple or paper clip the orginal
envelope to the front. You can also attach fabric samples and photos of the
finished project if you want. The manila envelopes can also be used for
patterns you drafted yourself, attach a copy of the original source picture
to the front and put your research notes in with and you've got a pretty
complette record of the project all in one spot. Again, add a phot of the
finished outfit and you'll have a total history.

Nora


----- Original Message ----- 
From: <IceGirlNIN@aol.com>
> Sorry for the semi off-topic post.  The time has come for me to plan for a
> vast reorganization of my sewing area (the tiny space that it is), for
when I
> get home during my college's spring break.  At the moment, I have large
> quantities of various things, many of which are scattered...everywhere!
So.  One of
> the first steps is to organize my growing pattern collection.  In the
latest
> issue of Vogue Patterns, I spotted "The Pattern Finder" filing system.  Is
this
> worth the price ($13 plus shipping for three boxes that hold 30 patterns)?
Or
> would I be better off making my own, using various boxes?  These things
look
> neat and tidy, but are there better alternatives?
>
> Thanks!
>
> Christine
.

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 We are in the process of adding a Spanish translation to A Year in Fashion:1863, http://www.costumegallery.com/1863 in our Library.  The first month that we are working on is January.  When you go to the Table of Contents, you will notice that today I have added buttons for English and Spanish translations for the Editorial Chit-chat.  As the weeks go on, the areas with the dual translations you will see these buttons.  I thought about making an index in Spanish for 1863, but we are still adding new articles and fashion plates to this year that have not been translated yet.  Before the end of 2004, we will start translating A Year in Fashion: 1863 into French.  We choose to start translating this "A Year in Fashion" first because it is one of our most popular years in our Library.

Many, many thanks goes to our bi-lingual interns for making it possible for people of other languages to be able to read and study fashion history. 

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
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To: Historical Costume <h-costume@indra.com>
From: Jill Hadfield <jill@jigrah.co.uk>
Subject: Re: [h-cost] RE: Tudor Shoes!
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Sounds just like the Sedgefield  Ball  Game  every shrove Tuesday.  Just so 
happens, it's next Tuesday (24th), the shops all board up their windows and 
move everything they can off the roads and pavements.

Jill
At 13:54 18/02/2004 -0600, you wrote:

>>From: kat@grendal.rain.com
>>It's about a pair of soccer shoes that Henry VIII ordered, but I was
>>intrigued by the work done by the woman who found the order in an
>>order for Henry VIII shoes. I would *love* to talk to her!
>>Marc, have you heard of her?
>
>The name does not sound familiar - other than there is a Dr. Maria Hayward 
>at the Textile Concervation center at the University of Southampton.
>
>I will say that calling Tudor era ball games "football" seems misleading, 
>since they more resembled the modern fan riots, than the game :)   (no 
>teams, no separation of fans from "players" - just multiple mobs trying to 
>posess a ball and move it from one place to another) - my guess is that 
>Henry really did take part.
>
>Marc
>
>_________________________________________________________________
>Watch high-quality video with fast playback at MSN Video. Free! 
>http://click.atdmt.com/AVE/go/onm00200365ave/direct/01/
>
>_______________________________________________
>h-costume mailing list
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>http://mail.indra.com/mailman/listinfo/h-costume
>

JiGraH Resources  -  www.jigrah.co.uk

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From h-costume-bounces@indra.com  Sun Feb 22 12:29:05 2004
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To: Historical Costume <h-costume@indra.com>
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Every time you show us pictures of your work, I think that it
can't get any better. And every time I'm wrong because it's
always better than the last one.
You are an artist, Bjarne!

Sheryl

At 01:08 AM 2/22/04 +0100, you wrote:
>Dear Kathy.
>Thanks a lot for your wonderfull instruktions in using rice paper on 
>embroidery.
>It is crazy that i never used that before, because it works so good.
>I started a new waistcoat yesterday with this paper, and it works so fine. 
>It is the first time i try to use silk ribbon in embroidery.
>If you would like to see, go to:
>http://www.my-drewscostumes.dk/chenillesuit.htm
>and scroll down to the bottom of the site.
>This is the lovely ribbed silk i found in London last year. I think it is 
>very close to the original 18th century fabric called Gros de Tours.
>
>Bjarne



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> Dear Kathy.
> Thanks a lot for your wonderfull instruktions in using rice paper on
> embroidery.
> It is crazy that i never used that before, because it works so good.
> I started a new waistcoat yesterday with this paper, and it works so fine.
> It is the first time i try to use silk ribbon in embroidery.
> If you would like to see, go to:
> http://www.my-drewscostumes.dk/chenillesuit.htm


Bjarne,

You are so amazing!  I know people have said it before but it just amazes
me how beautiful and accurate your creations are and how fast you can make
one.

My hat is off to you!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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Subject: [h-cost] Photos from an event...
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Yesterday the Greater (San Francisco) Bay Area Costumer's Guild held the
Currier & Ives ice skating party, a Victorian themed event.  I've posted
some pictures to my website and I thought some of you here might like to see
them!

http://demode.tweedlebop.com/currier/

- Kendra

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Oh, great pictures! I particularly like the picture of the woman in the 
light-blue, below-hip jacket (?) with the black trimming and the mocha 
(?) skirt, [actually, I like the whole outfit, whatever it actually is 
;o)] who's interacting with the little girl in red (who's just 
*adorable* in her ruffles).  And I like the gowns on both the ladies in 
the middle picture, bottom row (the ones that look 1830s-ish to my 
mostly-ignorant eyes).
Thanks for sharing!
--sue (several centuries out of her normal historical element)

Kendra Van Cleave wrote:

> Yesterday the Greater (San Francisco) Bay Area Costumer's Guild held the
> Currier & Ives ice skating party, a Victorian themed event.  I've posted
> some pictures to my website and I thought some of you here might like to see
> them!
> 
> http://demode.tweedlebop.com/currier/
> 
> - Kendra
> 

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Anyone in London might want to check out this new type of exhibit.
Click on "The Empress's New Clothes" and follow through.

http://www.museumoflondon.org.uk/

I was wondering when technology was going to catch up!

::Linda::

 



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From: Claudine <claudine_on_the_net@yahoo.com>
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Subject: [h-cost] how to finish a ruff edge?
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Hello!

I'm about to make a simple ruff, and for the ruffle I'm not using the 
selvedge edge of the fabric (the fabric I have doesn't have a 
proper-looking selvedge). Instead of turning a hem, I'm looking for a more 
interesting way to finish the edge of the ruffle. Can anyone recommend an 
edge finish that would be accurate for the last quarter of the 1500s? This 
is an economy, working-man's ruff, so the finish doesn't have to be fancy.

I'm thinking of using a blanket stitch (sometimes called a buttonhole 
stitch, see www.heritageshoppe.com/heritage/stitches/blanketstitch.html) 
using plain linen sewing thread, but I can't document it's use for this 
application, or even for this century (I know next to *nothing* about 
historic needlework!)



Thanks a bunch,
Claudine

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Subject: Re: [h-cost] how to finish a ruff edge?
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I've never seen a representation of a ruff with just a blanket stitch
kind of thing along the edge. But I have seen some with a narrow lace
(less than a 1/4 inch) or with a twisted (silk?) cord along the edge. I
have seen it in black and white or in red and white. I'd think that
either of these would be appropriate for a middle-class/merchant kind of
ruff. I'd also expect that a simple narrow 'shirt-tail' style hem would
both finish the edge and add a bit of extra stiffening to accentuate the
ripple of the edge. 


Karen


On Sun, 22 Feb 2004 11:49:59 -0800 Claudine
<claudine_on_the_net@yahoo.com> writes:
> Hello!
> 
> I'm about to make a simple ruff, and for the ruffle I'm not using 
> the 
> selvedge edge of the fabric (the fabric I have doesn't have a 
> proper-looking selvedge). Instead of turning a hem, I'm looking for 
> a more 
> interesting way to finish the edge of the ruffle. Can anyone 
> recommend an 
> edge finish that would be accurate for the last quarter of the 
> 1500s? This 
> is an economy, working-man's ruff, so the finish doesn't have to be 
> fancy.
> 
> I'm thinking of using a blanket stitch (sometimes called a 
> buttonhole 
> stitch, see 
> www.heritageshoppe.com/heritage/stitches/blanketstitch.html) 
> using plain linen sewing thread, but I can't document it's use for 
> this 
> application, or even for this century (I know next to *nothing* 
> about 
> historic needlework!)
> 
> 
> 
> Thanks a bunch,
> Claudine
> 
> _______________________________________________
> 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] Photos from an event...
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That light brown printed 1830s dress is really lovely. And the girl, with her 
hair and face, look perfect. Very nice.

The other 1830s dress is OK [same pattern?] but I'm not fond of that big 
striped collar thingie or the bonnet. A less startling collar effect and a 
rounder, decorated bonnet would've done the trick.

What fun, watching period skaters. It never gets cold enough for that down 
here.
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Subject: [h-cost] GBACG Skate Party
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This is a posting of my husband's photos from the same event Kendra took 
shots of at Winter Wonderland in Palo Alto, Ca:

http://www.misc.com/costumes/2004_skating/index.php

We were lucky in that our event took place between rainy periods, with 
even a little bit of sun. People brought goodies to snack on between 
triple toe loops and hot cider for thawing out.  A good time was had by 
all!!

Enjoy,

Theresa and Brad Eacker

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Subject: [h-cost] Re: skating party
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Kendra:

Thanks so much for posting this! That looks like so much fun. It reminds me
of SCA events, when wearing our medieval clothes makes us feel medieval
despite our plastic camp chairs and tarps. Everyone looks as if just wearing
their clothes to skate makes them so happy that they don't notice the paper
plates and Zamboni machine!

Gail Finke

quote:

Yesterday the Greater (San Francisco) Bay Area Costumer's Guild held the
Currier & Ives ice skating party, a Victorian themed event.  I've posted
some pictures to my website and I thought some of you here might like to see
them!

http://demode.tweedlebop.com/currier/

- Kendra



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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] About Netherton lectures, Springfield, 13 March, IMPORTANT
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The organizer of this event asks that people please forward this urgent
announcement to any relevant lists. I would be especially grateful if
someone can send this on to the SCA-garb, Authentic-SCA, Midrealm, and
Calontir lists. Thanks.

Direct URL for the event flyer is
http://home.insightbb.com/~swordcliff/robin.html

---------- Forwarded message ----------
Date: Sun, 22 Feb 2004 14:49:33 -0800 (PST)
From: Mary Conrad <arfursmom@yahoo.com>
Subject: ICK!!  Spreadsheet with 3-13-04 reservations has been eaten by my
    computer!

ICK!!  Spreadsheet with 3-13-04 reservations has been eaten by my
computer!
 
The Excel spreadsheet I was recording the reservations for Robin
Netherton's Women's Costume in the 14th & 15th Centuries has been eaten by
my computer.  I can't find it anywhere!!!!!!!
 
After much hair-pulling, I have decided to ask you to re-send the
reservations to me ASAP, I am very sorry (and very unhappy this has
occurred!)...
 
Anyone who sent a reservation before last weekend (2/14) needs to re-send
their info to me.  I need mundane name, address, a 'quick' contact (phone
or E-mail, in case we should need to cancel for some horrible reason) and
how you first heard about the seminar.
 
IF you E-mail me a reservation and get a 'bounce' message that my mailbox
is full - please phone me at 217-898-6509 and I'll get in and dump bulk
mail & trash folders.  I usually don't access the yahoo account from work
during the week.....
 
Remember, we have 200 seats that we can fill & we were only at about 75
when this 'crash' occurred.
 
If you are reading this message and wondering 'what seminar is she talking
about?' - please go to the MidRealm Home Page at midrealm.org and then go
to the Calendar, select 3/13 and the link to this seminar which is being
hosted by the Shire of Swordcliffe and the All Things Medieval Student
Club at University of Illinois-Springfield IL.
 
PLEASE FORWARD THIS EVERYWHERE YOU CAN!!!!!!  Thanks so much,
 
Baroness Anntionette Rose / Mary Conrad

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In a message dated 2/22/2004 4:06:45 PM Eastern Standard Time, vmaa2@cox.net 
writes:
"The Empress's New Clothes" 
Wish they were a little more informative--which Empress, for example?  
Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] how to finish a ruff edge?
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The ruffle on the 16th c. boy's shirt in the V&A is finished with a tiny 
line of buttonhole stitch along the edge, with the stitches holding down 
a narrow, little twisted cord of matching floss that sits *on* the edge. 
  I should add, though, the the ruffle's a double layer of fabric, not a 
single layer, and I don't think it'd work to just do one layer with the 
buttonhole stitch and no other kind of hem--the linen would tend to 
ravel pretty bad.
--sue

seamstrix@juno.com wrote:

> I've never seen a representation of a ruff with just a blanket stitch
> kind of thing along the edge. But I have seen some with a narrow lace
> (less than a 1/4 inch) or with a twisted (silk?) cord along the edge. I
> have seen it in black and white or in red and white. I'd think that
> either of these would be appropriate for a middle-class/merchant kind of
> ruff. I'd also expect that a simple narrow 'shirt-tail' style hem would
> both finish the edge and add a bit of extra stiffening to accentuate the
> ripple of the edge. 
> 
> 
> Karen
> 
> 
> On Sun, 22 Feb 2004 11:49:59 -0800 Claudine
> <claudine_on_the_net@yahoo.com> writes:
> 
>>Hello!
>>
>>I'm about to make a simple ruff, and for the ruffle I'm not using 
>>the 
>>selvedge edge of the fabric (the fabric I have doesn't have a 
>>proper-looking selvedge). Instead of turning a hem, I'm looking for 
>>a more 
>>interesting way to finish the edge of the ruffle. Can anyone 
>>recommend an 
>>edge finish that would be accurate for the last quarter of the 
>>1500s? This 
>>is an economy, working-man's ruff, so the finish doesn't have to be 
>>fancy.
>>
>>I'm thinking of using a blanket stitch (sometimes called a 
>>buttonhole 
>>stitch, see 
>>www.heritageshoppe.com/heritage/stitches/blanketstitch.html) 
>>using plain linen sewing thread, but I can't document it's use for 
>>this 
>>application, or even for this century (I know next to *nothing* 
>>about 
>>historic needlework!)


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Hi Bjarne,

I am Rebecca, currently living in Seattle, USA, (I am Australian). I have
been on the list in various forms since way-way back when it was new
(96?), and it is one of my favorites. To reminisce, I remember when I was
finishing up my Ph.D. a few years ago, I took a few minutes time-out to
scan the list. I stumbled in on that amazon.com.uk special on "Queen
Elizabeth Wardrobe Unlocked", which flew on email around the world that
weekend and made such a puzzling flurry of activity for the amazon
executives.

I am a fan of the 18th/19th century transition periods, from panniers
through to empire-line. I also make an obscure form of Italian bobbin
lace, so you can imagine that I follow your posts with interest!  I used
to sew much more, but now days I only have time for costuming research and
sewing everyday clothes. I do manage to squeeze in a couple of corsets for
fun and evening wear. :-)

Thanks
Bec

On Fri, 30 Jan 2004, Bjarne og Leif Drews wrote:
> I would like to know who is on the list at pressent time.
> Thankyou
> Bjarne

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----- Original Message -----
From: <AlbertCat@aol.com>


> That light brown printed 1830s dress is really lovely. And the girl, with
her
> hair and face, look perfect. Very nice.

That was me!  In fact, I suppose I have an FO here... my 1830s day dress.
Lots of photos and commentary are at:
http://demode.tweedlebop.com/indienne.html

- Kendra

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


> Oh, great pictures! I particularly like the picture of the woman in the
> light-blue, below-hip jacket (?) with the black trimming and the mocha
> (?) skirt, [actually, I like the whole outfit, whatever it actually is
> ;o)] who's interacting with the little girl in red (who's just
> *adorable* in her ruffles).  And I like the gowns on both the ladies in

Her dress was great.  The underskirt is actually some kind of taffeta-esque
fabric in brown that was printed with tiny blue squares (like 1/16").

- Kendra

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Kendra Van Cleave wrote:

> That was me!  In fact, I suppose I have an FO here... my 1830s day dress.
> Lots of photos and commentary are at:
> http://demode.tweedlebop.com/indienne.html


Wow! I have some of that fabric and never imagined it would look so good 
made up into something. Did you overdye it? It looks more/darker 
coffee-colored than mine is.


Dawn



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----- Original Message -----
From: "Dawn" <dawn@reddawn.net>
>
> Wow! I have some of that fabric and never imagined it would look so good
> made up into something. Did you overdye it? It looks more/darker
> coffee-colored than mine is.

No I didn't -- in fact it lightened a shade when I washed it (there were
posts a few months ago about washing it with salt to stop it from
bleeding...).

They did have various colorations of the fabric, so maybe we chose different
ones?  Or given that it's a vegetable dye, I think it would be quite logical
that there would be variations in color.

- Kendra

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Kendra Van Cleave wrote:

> ----- Original Message -----
> From: "Dawn" <dawn@reddawn.net>
> 
>>Wow! I have some of that fabric and never imagined it would look so good
>>made up into something. Did you overdye it? It looks more/darker
>>coffee-colored than mine is.
> 
> 
> No I didn't -- in fact it lightened a shade when I washed it (there were
> posts a few months ago about washing it with salt to stop it from
> bleeding...).
> 
> They did have various colorations of the fabric, so maybe we chose different
> ones?  Or given that it's a vegetable dye, I think it would be quite logical
> that there would be variations in color.

Very likely. The colors weren't consistent among bolts in the local 
stores either.

Thanks for the reminder about washing it. I'll use Retayne on mine, it's 
great for fabrics that bleed, I use it on a lot of imported fabrics 
especially those fine super-saturated veils from Egypt.


Dawn



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You look terrific in your indienne print dress, Kendra. I still haven't
started my 18th century indienne outfit yet.....but, gosh your outfit has
inspired me to look at that whole 1830's era which I hadn't really
considered before......darn this list! I didn't need another era to
costume!!!!


Karen


On Sun, 22 Feb 2004 18:13:47 -0800 "Kendra Van Cleave"
<kendra@tweedlebop.com> writes:
> ----- Original Message -----
> From: <AlbertCat@aol.com>
> 
> 
> > That light brown printed 1830s dress is really lovely. And the 
> girl, with
> her
> > hair and face, look perfect. Very nice.
> 
> That was me!  In fact, I suppose I have an FO here... my 1830s day 
> dress.
> Lots of photos and commentary are at:
> http://demode.tweedlebop.com/indienne.html
> 
> - Kendra
> 
> _______________________________________________
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> 

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I was always told to wash with vinegar and salt to spot bleeders. What has
other people heard or don't for this kind of problem?

Arian

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kendra Van Cleave
Sent: Sunday, February 22, 2004 8:44 PM
To: Historical Costume
Subject: Re: [h-cost] Photos from an event...


----- Original Message -----
From: "Dawn" <dawn@reddawn.net>
>
> Wow! I have some of that fabric and never imagined it would look so good
> made up into something. Did you overdye it? It looks more/darker
> coffee-colored than mine is.

No I didn't -- in fact it lightened a shade when I washed it (there were
posts a few months ago about washing it with salt to stop it from
bleeding...).

They did have various colorations of the fabric, so maybe we chose different
ones?  Or given that it's a vegetable dye, I think it would be quite logical
that there would be variations in color.

- Kendra

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I'd like to send out a belated thank-you to everyone who was so kind as 
to respond to my query.  I've sent the info on to my friend, and 
eventually, maybe, I'll hear back from her on what they ended up doing....
--sue

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From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] new technology in exhibition
Date: Sun, 22 Feb 2004 20:09:16 -0500
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Hi Ann!

I don't think the title should be taken literally, it's more a reference to the fairy tale, I
believe.  The link for the fashion exhibit is in the lower left corner of the main page. More than
any particular set of costumes, they are showcasing the technology which they applied to viewing
historic clothing in 3D as well as on a moving human form. They don't give the interactive video on
site (that I could find) but maybe this is a first step toward good things to come. If anyone is in
London it'd be fun to check it out!

::Linda::

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of
AnnBWass@aol.com
Sent: Sunday, February 22, 2004 7:38 PM
To: h-costume@indra.com
Subject: Re: [h-cost] new technology in exhibition

In a message dated 2/22/2004 4:06:45 PM Eastern Standard Time, vmaa2@cox.net 
writes:
"The Empress's New Clothes" 
Wish they were a little more informative--which Empress, for example?  
Ann Wass




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From h-costume-bounces@indra.com  Mon Feb 23 04:16:39 2004
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] GBACG Skate Party
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Who does the gentleman in the red jacket represent? Is he one of those
Zouaves you read about in the ACW period?

Kate Bunting
Library, University of Derby
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From h-costume-bounces@indra.com  Mon Feb 23 04:27:26 2004
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Subject: [h-cost] fabric bleeds.
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oops, dyslexia stricts again. It should be "stops bleeders" not "spots
bleeders"

Arian

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of otsisto
Sent: Sunday, February 22, 2004 11:03 PM
To: Historical Costume
Subject: RE: [h-cost] Photos from an event...


I was always told to wash with vinegar and salt to spot bleeders. What has
other people heard or don't for this kind of problem?

Arian

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kendra Van Cleave
Sent: Sunday, February 22, 2004 8:44 PM
To: Historical Costume
Subject: Re: [h-cost] Photos from an event...


----- Original Message -----
From: "Dawn" <dawn@reddawn.net>
>
> Wow! I have some of that fabric and never imagined it would look so good
> made up into something. Did you overdye it? It looks more/darker
> coffee-colored than mine is.

No I didn't -- in fact it lightened a shade when I washed it (there were
posts a few months ago about washing it with salt to stop it from
bleeding...).

They did have various colorations of the fabric, so maybe we chose different
ones?  Or given that it's a vegetable dye, I think it would be quite logical
that there would be variations in color.

- Kendra

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In a message dated 2/23/2004 1:00:18 AM Eastern Standard Time, vmaa2@cox.net 
writes:
link for the fashion exhibit is in the lower left corner of the main page. 
More than
any particular set of costumes, they are showcasing the technology which they 
applied to viewing
historic clothing in 3D as well as on a moving human form.
I looked at all that, and I am most impressed at the technology, but would 
still like to know more about the dress!
Ann Wass
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From h-costume-bounces@indra.com  Mon Feb 23 08:35:14 2004
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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] how to finish a ruff edge?
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Hey Claudine...  just blanket stitch at the edge will not prevent 
fraying.  A couple of quick and historically accurate edge finishes for the 
ruff include:

         A turned 1/4" hem with a hem stitch...  creates an open work 
effect at the very edge  /_/_/_/   You said you didn't want to turn a 
hem... but you'd be accurate in doing so,  at least with the openwork you 
would.   And then if you wanted to add some modest lace you could.

Also... you could roll the edge and whip it...  I imagine it would give you 
a good upper edge for the serpentine folds of the ruff... but I haven't 
seen that done - on a ruff...

Good luck.
Bridgette



>I'm about to make a simple ruff, and for the ruffle I'm not using the 
>selvedge edge of the fabric (the fabric I have doesn't have a 
>proper-looking selvedge). Instead of turning a hem, I'm looking for a more 
>interesting way to finish the edge of the ruffle. Can anyone recommend an 
>edge finish that would be accurate for the last quarter of the 1500s? This 
>is an economy, working-man's ruff, so the finish doesn't have to be fancy.
>
>I'm thinking of using a blanket stitch (sometimes called a buttonhole 
>stitch, see www.heritageshoppe.com/heritage/stitches/blanketstitch.html) 
>using plain linen sewing thread, but I can't document it's use for this 
>application, or even for this century (I know next to *nothing* about 
>historic needlework!)

Mari Stewart
Cornell University


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In a message dated 2/22/2004 8:18:56 PM Eastern Standard Time, 
handcock@rad.ess.washington.edu writes:
but now days I only have time for costuming research and
sewing everyday clothes.
I've given up everyday clothes almost altogether.  As a friend said, why sew 
what you can buy?  And that is it exactly.  The clothes I favor are not that 
expensive, and I am a great fan of thrift stores.  I limit my sewing to my 
historic apparel--I do early 19th century, the occasional square dance dress (my 
husband is a caller, so I have to dress the part, and I've worked out a 
streamlined dress that is easy to make and allows me to have fun with fabric and trim 
choices), and, now that I have 2 granddaughters, I'm trying to do Christmas 
and perhaps birthday outfits for them.  Once in a great while, I will undertake 
a project like an evening coat or something else that I can't buy.

I really don't think sewing daywear is economical anymore, especially when 
one figures in the cost of one's labor.

Ann Wass 
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AnnBWass@aol.com wrote:
> I really don't think sewing daywear is economical anymore, especially when 
> one figures in the cost of one's labor.

I agree.  The clothes I make for regular wear are more artsy than you 
can get off the rack.  Most clothes are made in the less developed 
nations, where cost of labor is nearly nothing compared to the developed 
ones.  And I read recently that most clothing donated to thrift stores 
is shipped to less developed nations as well. (I can dig up the cite if 
anyone cares.)

This part of the economy isn't noticed so much, until you try to buy a 
decent recreation outfit, and it has a startling price tag!  But that's 
what it's worth in local time & talent.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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In a message dated 2/23/2004 9:19:52 AM Eastern Standard Time, 
cvirtue+dated+1093097921.8a55a6@thibault.org writes:
Most clothes are made in the less developed 
nations, where cost of labor is nearly nothing compared to the developed 
ones.  And I read recently that most clothing donated to thrift stores 
is shipped to less developed nations as well. 
Yes, and some people may have problems with that.  However, traditionally one 
of the first industries to be developed is apparel manufacturing, as the set 
up costs are low.  And while the wages may be very low, they are an 
improvement over nothing or bare subsistence from agriculture. 

Made in the USA, we have learned, doesn't guarantee that the workers were 
paid a decent wage.  I don't know if it is continuing, but as recently as a 
couple of years ago, there were still raids on those places in this country where 
the workers were basically enslaved--all their wages went to pay their living 
expenses, and they couldn't leave, but the clothes could be labeled made in USA.

I had just heard that used clothes were being shipped overseas.  All the more 
reason for us to buy them here, then.

This is an aside, not directly related to the above, but I have noticed when 
I have gone to craft shows that feature "wearable art," that the artistic 
ideas might be good, but the workmanship isn't so great.  So I seldom buy any of 
that, as I really CAN do better myself.

Ann Wass
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Photos from an event...
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Where does one get 'Retayne'?
Albra
(delurking for a moment)

Dawn <dawn@reddawn.net> wrote:
Kendra Van Cleave wrote:

> ----- Original Message -----
> From: "Dawn" 
> 
>>Wow! I have some of that fabric and never imagined it would look so good
>>made up into something. Did you overdye it? It looks more/darker
>>coffee-colored than mine is.
> 
> 
> No I didn't -- in fact it lightened a shade when I washed it (there were
> posts a few months ago about washing it with salt to stop it from
> bleeding...).
> 
> They did have various colorations of the fabric, so maybe we chose different
> ones? Or given that it's a vegetable dye, I think it would be quite logical
> that there would be variations in color.

Very likely. The colors weren't consistent among bolts in the local 
stores either.

Thanks for the reminder about washing it. I'll use Retayne on mine, it's 
great for fabrics that bleed, I use it on a lot of imported fabrics 
especially those fine super-saturated veils from Egypt.


Dawn



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Linda wrote, on Sunday, February 22, 2004 5:28 PM

> Anyone in London might want to check out this new type of exhibit.
> Click on "The Empress's New Clothes" and follow through.
>
> http://www.museumoflondon.org.uk/
>
> I was wondering when technology was going to catch up!

I already had, having spent 45 minutes staring at it, after 45 minutes
staring at the Saxon gravefinds:-) But the technology, or the people
using it, has a very long way to go, since it looks nothing like the
way that particular dress would look in motion:-(
They have officially noted that they need to factor in period
undergarments, (I assume stays) which would help but I am trying to
find a polite form of words for pointing out to them that silk taffeta
looks nothing like the animation. Imagine a cross between a charmeuse
satin and china silk in motion, and you know what the animation looks
like. Not much different to Sleeping Beauty or indeed Fiona's dresses,
alas. But the real thing is a very nice dress...

best wishes
Stevie

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In a message dated 2/23/2004 10:43:46 AM Eastern Standard Time, 
stevie.gamble@btinternet.com writes:
But the real thing is a very nice dress...
So, can you tell us more about the dress itself?
Ann Wass
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From h-costume-bounces@indra.com  Mon Feb 23 10:59:24 2004
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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] who is here/regular clothes
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I agree about the economics, but must add that, for me, there are three 
reasons that override economics:

1. If you cannot find off-the-rack that fits properly, it doesn't matter 
how cheap it is (assuming good fit is important), and

2. If you cannot find off-the-rack that you find attractive, the only way 
to get clothes that *you* think looks good on you is to sew it yourself,and

3. If you have the time and enjoy sewing.

Katie


At 09:19 AM 2/23/2004 -0500, you wrote:
>AnnBWass@aol.com wrote:
>>I really don't think sewing daywear is economical anymore, especially 
>>when one figures in the cost of one's labor.
>
>I agree.  The clothes I make for regular wear are more artsy than you can 
>get off the rack.  Most clothes are made in the less developed nations, 
>where cost of labor is nearly nothing compared to the developed ones.  And 
>I read recently that most clothing donated to thrift stores is shipped to 
>less developed nations as well. (I can dig up the cite if anyone cares.)
>
>This part of the economy isn't noticed so much, until you try to buy a 
>decent recreation outfit, and it has a startling price tag!  But that's 
>what it's worth in local time & talent.
>
>--
>Cynthia Virtue and/or
>Cynthia du Pré Argent
>_______________________________________________
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>
First of all, I echo everyone else's opinion of your work, Bjarne.  You
are the most talented embroidere I have ever seen and your work is
FABULOUS.

Now I have a question.  Were the rice paper instructions posted on this
list?  If they were, I must have missed them.  My husband has been
"tinkering" with the computer lately.  If the instruactions were not
poste,  could they be?  I would love to learn this technique as I need to
embroider on some silk chiffon and we all know how "wimpy" that fabric is.

Thanks and keep sending those wonderful photos Bjarne.  You are an
inspiration to all of us.

Anne  (back to lurk mode)


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http:www.dharmatrading.com

or anywhere that caters to fabric dyers

Kim

Where does one get 'Retayne'?
Albra
(delurking for a moment)

Dawn <dawn@reddawn.net> wrote:
Kendra Van Cleave wrote:



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Subject: Re: [h-cost] retayne
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thanks mucho, Kim:)
Albra

kim baird <kbaird@cableone.net> wrote:
http:www.dharmatrading.com

or anywhere that caters to fabric dyers

Kim

Where does one get 'Retayne'?
Albra
(delurking for a moment)

Dawn wrote:
Kendra Van Cleave wrote:



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> Also... you could roll the edge and whip it...  I imagine it would give
you
> a good upper edge for the serpentine folds of the ruff... but I haven't
> seen that done - on a ruff...

I did that on a ruffle. Looks very good, and it's stiffer than a regular
turned hem.
Here's a picture
http://www.geocities.com/audreybm_costumes/laudomia/images/17-Partlet_ruffle.jpg
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> Where does one get 'Retayne'?

You can sometimes also buy it in specialty quilt shops. It might be 
worth the cost of shipping to call and ask.



Dawn



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From: MARGARET SUTHERLAND <marga@shaw.ca>
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Hi I'm Margaret from Vancouver, Canada here, new to the list.  I always find there's plenty for me to choose from at the thrift shops and consignment stores :-) before it gets shipped overseas or whatever.  I am just not interested in paying retail prices for any garments except underwear and sox.  

Though I don't have the same "sales resistance" toward my costuming habit *grin* I was seriously considering paying $30 per meter for some hemp canvas to sew my first "serious re-enactment" garment (fortunately a friend had some in her stash...)

About clothing manufacturing/wages, etc., there is a whole "fair trade" organization, the "Clean Clothes Campaign" http://www.cleanclothes.org that is working to expose the worst injustices.  Kind of interesting to keep an eye on what's going on.

I'm a fairly-new SCA costumer, though I've been sewing something or other since I was a small child. I find I really like hand-sewing, I'm just beginning to hand-sew with linen and silk sewing threads, rather than Gutterman's polyester.

Best wishes,
Margaret Sutherland
Alienor Sanz-Argent



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To: Historical Costume <h-costume@indra.com>
From: Claudine <claudine_on_the_net@yahoo.com>
Subject: Re: [h-cost] how to finish a ruff edge?
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Hi Karen,

Thanks for you input. I thought about using a bit of lace, but I understand 
from earlier discussions that finding accurate lace can be difficult. Are 
there any websites you can recommend for seeing what accurate lace should 
look like? Are there any good sources online for buying lace?


Thanks,
Claudine

At 03:02 PM 2/22/2004, you wrote:
>I've never seen a representation of a ruff with just a blanket stitch
>kind of thing along the edge. But I have seen some with a narrow lace
>(less than a 1/4 inch) or with a twisted (silk?) cord along the edge. I
>have seen it in black and white or in red and white. I'd think that
>either of these would be appropriate for a middle-class/merchant kind of
>ruff. I'd also expect that a simple narrow 'shirt-tail' style hem would
>both finish the edge and add a bit of extra stiffening to accentuate the
>ripple of the edge.
>
>
>Karen
>
>
>On Sun, 22 Feb 2004 11:49:59 -0800 Claudine
><claudine_on_the_net@yahoo.com> writes:
> > Hello!
> >
> > I'm about to make a simple ruff, and for the ruffle I'm not using
> > the
> > selvedge edge of the fabric (the fabric I have doesn't have a
> > proper-looking selvedge). Instead of turning a hem, I'm looking for
> > a more
> > interesting way to finish the edge of the ruffle. Can anyone
> > recommend an
> > edge finish that would be accurate for the last quarter of the
> > 1500s? This
> > is an economy, working-man's ruff, so the finish doesn't have to be
> > fancy.
> >
> > I'm thinking of using a blanket stitch (sometimes called a
> > buttonhole
> > stitch, see
> > www.heritageshoppe.com/heritage/stitches/blanketstitch.html)
> > using plain linen sewing thread, but I can't document it's use for
> > this
> > application, or even for this century (I know next to *nothing*
> > about
> > historic needlework!)
> >
> >
> >
> > Thanks a bunch,
> > Claudine
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
>
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OK...I can't resist any longer...


You sand it smooth, silly!
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Subject: [h-cost] period life perservers, PFDs
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I read, in an un-documented list of first occurrences, that the first life 
jacket was created for the English Navy in the 1700s.  Where would I look 
to find an image of one of these, or the specifications on them?  I don't 
even know where to start.

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

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From: Claudine <claudine_on_the_net@yahoo.com>
Subject: Re: [h-cost] how to finish a ruff edge?
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Hi guys,

Thanks for the responses!

The "rolled and whipped" ruffle looks really nice, but
is the techinique documentable for any garment around
about 1580 in western Europe? I'm clinging to
documentable, period techniques as much as I can.   :)

I like the idea of a turned hem with a bit of
openwork, but I don't understand how I would
accomplish that. When I do a hem I end up with little
stitches on the outside of the garment that are
basically perpendicular the the hem edge; I don't see
how that converts to openwork. Bridgette, from your
ASCII drawing, are you saying that I should throw in a
horizontal stitch between the normal, slanted heming
stitches? Would that be enough to create holes in the
fabric, or should I pull threads out parallel to the
hem? Sorry for all the questions, but I've only ever
read about openwork and have never done it.

I'd like to learn more about lace. That seems to be
the leading suggestion for dressing up my modest
little ruff. Would a Cluny lace be accurate? I have
some lace that was originally for another project that
looks a lot like this:

http://www.cheeptrims.com/store/item.asp?Category=3&SubCategoryID=64&GroupID=&SKU=9538%2D02

except the stitches are a lot tighter and there are
strongly defined arches at what in this photo is the
upper edge. It's also 3/8", not 1/2". It might be
cotton, I'm not sure, and it's pretty stiff. I got it
at Jo-Ann and I think they carry it often.

Thanks for all the suggestions! I'm going to search
online now for images of lace.



Claudine
(iggerent, but learning fast :)

--- M Stewart <ms154@cornell.edu> wrote:
> 
> Hey Claudine...  just blanket stitch at the edge
> will not prevent 
> fraying.  A couple of quick and historically
> accurate edge finishes for the 
> ruff include:
> 
>          A turned 1/4" hem with a hem stitch... 
> creates an open work 
> effect at the very edge  /_/_/_/   You said you
> didn't want to turn a 
> hem... but you'd be accurate in doing so,  at least
> with the openwork you 
> would.   And then if you wanted to add some modest
> lace you could.
> 
> Also... you could roll the edge and whip it...  I
> imagine it would give you 
> a good upper edge for the serpentine folds of the
> ruff... but I haven't 
> seen that done - on a ruff...
> 
> Good luck.
> Bridgette
> 
> 
> 
> >I'm about to make a simple ruff, and for the ruffle
> I'm not using the 
> >selvedge edge of the fabric (the fabric I have
> doesn't have a 
> >proper-looking selvedge). Instead of turning a hem,
> I'm looking for a more 
> >interesting way to finish the edge of the ruffle.
> Can anyone recommend an 
> >edge finish that would be accurate for the last
> quarter of the 1500s? This 
> >is an economy, working-man's ruff, so the finish
> doesn't have to be fancy.
> >
> >I'm thinking of using a blanket stitch (sometimes
> called a buttonhole 
> >stitch, see
>
www.heritageshoppe.com/heritage/stitches/blanketstitch.html)
> 
> >using plain linen sewing thread, but I can't
> document it's use for this 
> >application, or even for this century (I know next
> to *nothing* about 
> >historic needlework!)
> 
> 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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Date: Mon, 23 Feb 2004 13:57:01 -0800 (PST)
From: Claudine <claudine_on_the_net@yahoo.com>
Subject: Re: [h-cost] how to finish a ruff edge?
To: Historical Costume <h-costume@indra.com>
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Well duh, *that's* what I keep sandpaper in my sewing
kit for! Thank's for setting me straight.


Claudine
(not trying to be pun-y, but happy to amuse)

p.s. Does anyone know where I can find images of
extant lace online?

--- AlbertCat@aol.com wrote:
> OK...I can't resist any longer...
> 
> 
> You sand it smooth, silly!
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From h-costume-bounces@indra.com  Mon Feb 23 17:41:02 2004
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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
References: <4.3.1.2.20040223130144.00dbb5a0@mail.frys.com>
Subject: Re: [h-cost] period life perservers, PFDs
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It's from 1810, but here's a citation from the advertisement:

     "MALLISON'S SEAMAN'S FRIEND AND BATHER'S COMPANION": PICTORIAL
ADVERTISING HANDBILL (1810) 2pp. 15"x 8_", headed by attractive wood
engraving of a man wearing the patent, cork life-jacket. Including
testimonials from evidence presented to the Parliamentary Committee on the
petition of the inventor, William Henry Mallison. Handbill printed by Dean &
Munday, Threadneedle St., London. *** PHOTO - see plate no. 1 Ł


The handbill was for sale by Cavendish Auctions in the UK; it was sold last
year, and they have no picture on their site.

Solid block cork flotation devices were made mandatory in the US in 1852
by federal statute; in 1857, shoulder straps were added by a second statute.

Hope this helps,

                  -Helen/Aidan


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It's lovely to see some of these outfits in motion.  And I really like 
that mid-size picture feature.  Sometimes thumbnails are so small you 
can't tell whether you want to open them - this really helps.

Jean


Theresa Eacker <theresa@misc.com> wrote
>This is a posting of my husband's photos from the same event Kendra 
>took shots of at Winter Wonderland in Palo Alto, Ca:
>
>http://www.misc.com/costumes/2004_skating/index.php
>
>We were lucky in that our event took place between rainy periods, with 
>even a little bit of sun. People brought goodies to snack on between 
>triple toe loops and hot cider for thawing out.  A good time was had by 
>all!!
>
>Enjoy,
>
>Theresa and Brad Eacker
>
>_______________________________________________
>h-costume mailing list
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Subject: Re: [h-cost] how to finish a ruff edge?
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Actually, the lace you referenced in the other post would be a good
choice. The mistakes in lace happen when you are trying to use very wide
laces. Simple narrow laces (esp. like you have found) are generally a
period design. And Cheeptrims is my fav online source, so you have
already found that! 8-)


Karen



On Mon, 23 Feb 2004 10:03:30 -0800 Claudine
<claudine_on_the_net@yahoo.com> writes:
> Hi Karen,
> 
> Thanks for you input. I thought about using a bit of lace, but I 
> understand 
> from earlier discussions that finding accurate lace can be 
> difficult. Are 
> there any websites you can recommend for seeing what accurate lace 
> should 
> look like? Are there any good sources online for buying lace?
> 
> 
> Thanks,
> Claudine
 

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It's lovely to see some of these outfits in motion.  And I really like 
that mid-size picture feature.  Sometimes thumbnails are so small you 
can't tell whether you want to open them - this really helps.

Jean


Theresa Eacker <theresa@misc.com> wrote
>This is a posting of my husband's photos from the same event Kendra 
>took shots of at Winter Wonderland in Palo Alto, Ca:
>
>http://www.misc.com/costumes/2004_skating/index.php
>
>We were lucky in that our event took place between rainy periods, with 
>even a little bit of sun. People brought goodies to snack on between 
>triple toe loops and hot cider for thawing out.  A good time was had by 
>all!!
>
>Enjoy,
>
>Theresa and Brad Eacker
>
>_______________________________________________
>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 Feb 23 18:37:50 2004
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: Re: [h-cost] 18th century and new technology in exhibition
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Ann wrote on  Monday, February 23, 2004 3:50 PM
Subject: Re: [h-cost] 18th century and new technology in exhibition


> So, can you tell us more about the dress itself?


Robe a la Francaise/sack-back style dress of taffeta silk, woven in
Spitalfields c 1772.
 in a very dimly lit display cabinet - so the picture on the website
is probably clearer than seeing it in real life, sleeves still cut so
the pattern goes round rather than up and down, which perhaps would
have made me date it a trifle earlier. It looked to me as if it was
intended to be worn with hip pads rather than paniers- the rear end
protrudes a little, but much flatter fronted than the hoop skirt you
can see on the actress on the web site. There is not huge amounts of
fabric in it- an economical sack-back... and the decoration is
uninspired by comparison with the Rococo high spots we associate with
Boucher, 30 or so years earlier. But it is definitely not
charmeuse/china silk satin!

best wishes
Stevie

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In a message dated 2/23/2004 6:17:15 PM Central Standard Time, 
penny@costumegallery.com writes:
So you lucky ladies in England, will you please be a good Mom for Patrick 
come Sept. It will be a three years assignment.  LOL!

Penny E. Ladnier


I'm new to the list, but wanted to say *Congratulations!!!*  That's just 
wonderful!

-Tiffany
Reflections*of*Worth
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From: "Penny Ladnier" <penny@costumegallery.com>
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Some of you may recall me talking about my son Patrick who has been doing theater tech work throughout high school.  Today, Patrick was accepted into the Honors Bachelor's program at the Liverpool Institute of the Performing Arts, in England, for Technology of Theater and Performance.  This is one of the best colleges for Patrick's specialty.  They have an 85% placement rate for their graduates in the industry.  That was such a higher percentage than any college that we checked out in the U.S.

This college was founded by Paul McCartney from the Beatles in 1996.  He wanted to provide a place to educate people about the industry; to give them a firm legal background; and provide them good contacts for employment in the industry.   

So you lucky ladies in England, will you please be a good Mom for Patrick come Sept. It will be a three years assignment.  LOL!

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
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Thanks for that info.  No clue as to who owned/wore it?
Ann Wass
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Status: RO

Oh, wow, Penny! That's so cool! Congrats to Patrick!
--sue

Penny Ladnier wrote:

> Some of you may recall me talking about my son Patrick who has been
> doing theater tech work throughout high school.  Today, Patrick was
> accepted into the Honors Bachelor's program at the Liverpool
> Institute of the Performing Arts, in England, for Technology of
> Theater and Performance.  This is one of the best colleges for
> Patrick's specialty.  They have an 85% placement rate for their
> graduates in the industry.  That was such a higher percentage than
> any college that we checked out in the U.S.
> 
> This college was founded by Paul McCartney from the Beatles in 1996.
> He wanted to provide a place to educate people about the industry; to
> give them a firm legal background; and provide them good contacts for
> employment in the industry.
> 
> So you lucky ladies in England, will you please be a good Mom for
> Patrick come Sept. It will be a three years assignment.  LOL!
> 
> Penny E. Ladnier Owner, The Costume Gallery & Costume Classroom 
> www.costumegallery.com www.costumeclassroom.com 
> _______________________________________________ h-costume mailing
> list h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Hi, trying to help out a friend .. she got red wine on a white wool coat
.. especially soaked into the fringes .. she'd like to try to clean it
herself before a dry-cleaner ends up setting the stain - any suggestions
from you ladies (and gentlemen) who deal with wool?  I am violently
allergic so I never bothered to learn to clean it since I cannot wear it
... ANy advice is much appreciated!

Thanks!

- Lil the lethargic lurker ;)
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Date: Mon, 23 Feb 2004 22:30:19 -0500
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Subject: [h-cost] Re: sewing regular clothes
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I agree with most of what is said below. Though lately most of my sewing
energies are devoted to historical or other special occasion/invented in my
head garments, the poor quality of MUCH of what I see in stores (not just
Wal-Mart, but even fairly "upscale" retailers are guilty) makes me wish I
had more time to make "everyday" clothing. Jeans, t-shirts and undies are
ok, but to get a really well made suit, or tailored work pants, in anything
resembling a natural fiber and with good fit you practically HAVE to do it
yourself.

Just my $.02.

Allison T.


Message: 15
Date: Mon, 23 Feb 2004 07:58:25 -0800
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] who is here/regular clothes
To: Historical Costume <h-costume@indra.com>
Message-ID: <5.2.0.9.0.20040223075318.00b3bcf8@mail.katiesorchids.com>
Content-Type: text/plain; charset="iso-8859-1"; format=flowed

I agree about the economics, but must add that, for me, there are three
reasons that override economics:

1. If you cannot find off-the-rack that fits properly, it doesn't matter
how cheap it is (assuming good fit is important), and

2. If you cannot find off-the-rack that you find attractive, the only way
to get clothes that *you* think looks good on you is to sew it yourself,and

3. If you have the time and enjoy sewing.

Katie

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From h-costume-bounces@indra.com  Mon Feb 23 23:55:14 2004
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Date: Mon, 23 Feb 2004 18:01:55 -0800
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Re: retayne
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At 12:50 PM -0600 2/23/04, Dawn wrote:
>Where does one get 'Retayne'?

In the U.S. at least, Rit Dye company has packaged it up in packets 
containing about 2 Tablespoons (enough for 1 laundry load) and sells 
it for something like $3.50 per packet -- unfortunately I can't 
remember their brand name for it at the moment. (It's not "Run-Away," 
that's something different.) The overpriced version is better than 
nothing, and it's available this way in lots of fabric stores, but if 
you do much dyeing it's well worth searching out a better deal on 
price.

Dharma Trading Co. <http://www.dharmatrading.com> carries both the 
brand-name Retayne and their own "house brand" which is considerably 
cheaper -- 4 ounces for less than the price of one package of the Rit 
version. (All the usual disclaimers apply -- no affiliation with 
Dharma, test on a scrap of fabric first, et cetera.)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Hi. I was just in the Franklin Museum in Philadelphia with my boys 
today. One of their exhibits showcases the "inventions" created by 
Franklin. Along with the stove bearing his name, and the bifocal glasses 
is an exhibit detailing the swim fins, hand fins and cork filled vest 
that he purportedly created for himself. I didn't get a date, but I seem 
to remember that he had them as a young man (perhaps in the 1730s/40s). 
Of course, in a museum bearing his name, he couldn't very well come out 
looking less than an 18th Cent. DaVinci, though, so I don't know the 
veracity of the claims. I know that some of his science, especially the 
electrical stuff, was founded on earlier works of the Royal Society and 
their friends throughout Europe. Hopefully this is something that you 
can use... Cheers, Mike T.

Helen Pinto wrote:

>It's from 1810, but here's a citation from the advertisement:
>
>     "MALLISON'S SEAMAN'S FRIEND AND BATHER'S COMPANION": PICTORIAL
>ADVERTISING HANDBILL (1810) 2pp. 15"x 8_", headed by attractive wood
>engraving of a man wearing the patent, cork life-jacket. Including
>testimonials from evidence presented to the Parliamentary Committee on the
>petition of the inventor, William Henry Mallison. Handbill printed by Dean &
>Munday, Threadneedle St., London. *** PHOTO - see plate no. 1 Ł
>
>
>The handbill was for sale by Cavendish Auctions in the UK; it was sold last
>year, and they have no picture on their site.
>
>Solid block cork flotation devices were made mandatory in the US in 1852
>by federal statute; in 1857, shoulder straps were added by a second statute.
>
>Hope this helps,
>
>                  -Helen/Aidan
>
>
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>
>  
>

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I'll bet the whole family's excited!!!  Congrats to Patrick, I'll start
looking for his name on the film credits in 3.5 years no doubt.  I always
stay for those.

Lisa


----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Monday, February 23, 2004 4:13 PM
Subject: [h-cost] Exciting news


Some of you may recall me talking about my son Patrick who has been doing
theater tech work throughout high school.  Today, Patrick was accepted into
the Honors Bachelor's program at the Liverpool Institute of the Performing
Arts, in England, for Technology of Theater and Performance.  This is one of
the best colleges for Patrick's specialty.  They have an 85% placement rate
for their graduates in the industry.  That was such a higher percentage than
any college that we checked out in the U.S.

This college was founded by Paul McCartney from the Beatles in 1996.  He
wanted to provide a place to educate people about the industry; to give them
a firm legal background; and provide them good contacts for employment in
the industry.

So you lucky ladies in England, will you please be a good Mom for Patrick
come Sept. It will be a three years assignment.  LOL!

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
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Thank you all for the congrads.  Patrick is our first to be leaving home to
go to college.  It makes me a little tearful but I know it is the best
college for him.

Lisa, you might see Pat's name in the credits before 3.5 years.  Last summer
he worked as a production asst. for a short film called Run-on Sentence.
The film was made for competition and film festivals.  So maybe you will see
the film on HBO one day.  We saw the premiere of the film at a movie house
in Richmond just before Thanksgiving.  I always knew I would see his name on
the big screen one day, but I didn't expect it to be when he was a senior in
high school. I cried buckets when I saw his name in the credits.

Last week Pat worked lighting for a concert for the rock band Fighting
Gravity.  The club where the band performed offered him a sound engineering
job.  He also worked last week as a sound engineer for a performance of the
Latin Ballet of Virginia.  They also offered him a job too.  He has been
hired by a touring lighting company called Lite Tek.  In two weeks, Pat will
be working lighting at the National Cheerleading Competition in
Jacksonville, Florida for a week.  So if you happen to be there go by and
say hi to Pat.  Lite Tek is taking him touring with them all summer.  They
will be all over the U.S.  Hopefully Pat will have socked away a lot of
money for college.

So far Pat has 25 plays, 17 concerts, 3 films, and numerous dance, choral, &
cheerleading events under his belt.

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


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From h-costume-bounces@indra.com  Tue Feb 24 02:33:02 2004
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: sewing regular clothes
Date: Tue, 24 Feb 2004 01:13:23 -0600
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On a limited budget and a woman of ample size, It is hard to find decent
clothes that don't look like you are going to a Luau or worse, the stretch
knit polyester suits (I did not like the 70's style when I lived through it
and I still don't like them, give me 1940's}. My hips are the problem but
when I try on a dress listed for my size the armhole dips low, about 3 1/2"
to low. I find myself having to make my outfits instead of being able to buy
off the rack. Positive side is that I like to design and I get to wear a one
of a kind outfit but its finding the time.

De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of A.Thurman
Sent: Monday, February 23, 2004 9:30 PM
To: h-costume@indra.com
Subject: [h-cost] Re: sewing regular clothes


I agree with most of what is said below. Though lately most of my sewing
energies are devoted to historical or other special occasion/invented in my
head garments, the poor quality of MUCH of what I see in stores (not just
Wal-Mart, but even fairly "upscale" retailers are guilty) makes me wish I
had more time to make "everyday" clothing. Jeans, t-shirts and undies are
ok, but to get a really well made suit, or tailored work pants, in anything
resembling a natural fiber and with good fit you practically HAVE to do it
yourself.

Just my $.02.

Allison T.


Message: 15
Date: Mon, 23 Feb 2004 07:58:25 -0800
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] who is here/regular clothes
To: Historical Costume <h-costume@indra.com>
Message-ID: <5.2.0.9.0.20040223075318.00b3bcf8@mail.katiesorchids.com>
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I agree about the economics, but must add that, for me, there are three
reasons that override economics:

1. If you cannot find off-the-rack that fits properly, it doesn't matter
how cheap it is (assuming good fit is important), and

2. If you cannot find off-the-rack that you find attractive, the only way
to get clothes that *you* think looks good on you is to sew it yourself,and

3. If you have the time and enjoy sewing.

Katie

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Subject: [h-cost] Portrait of Catherine Parr
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For those who are interested in this period, here is a recently-recognised
portrait of Catherine Parr, (the wife who survived Henry VIII):-
http://www.bbc.co.uk/radio4/today/reports/arts/parr_20040224.shtml
destined for the Queens' Chamber at Hever Castle.

Linda Walton.

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----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Monday, February 23, 2004 7:13 PM
Subject: [h-cost] Exciting news


Some of you may recall me talking about my son Patrick who has been doing
theater tech work throughout high school.  Today, Patrick was accepted into
the Honors Bachelor's program at the Liverpool Institute of the Performing
Arts, in England, for Technology of Theater and Performance.  This is one of
the best colleges for Patrick's specialty.  They have an 85% placement rate
for their graduates in the industry.  That was such a higher percentage than
any college that we checked out in the U.S.

This college was founded by Paul McCartney from the Beatles in 1996.  He
wanted to provide a place to educate people about the industry; to give them
a firm legal background; and provide them good contacts for employment in
the industry.

So you lucky ladies in England, will you please be a good Mom for Patrick
come Sept. It will be a three years assignment.  LOL!

Congratulations to Patrick! Wow!

Dianne

Penny E. Ladnier

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Date: Tue, 24 Feb 2004 12:41:17 +0100
From: Deredere Galbraith <triade@kabelfoon.nl>
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Hi,

I almost missed this thread.
I am Deredere and am 27 years old. I live in the Netherlands.
I am a memder of the SCA and was very interested in 15 and 16th century 
costumes.
But I am having a bit of a burnout.
Getting tired of researhing everything, than making it and then realize 
that it is still not perfectly correkt.
Now I am more interested in fantasy costumes and 18th and 19th century 
costumes.
Planning to make 18th century panniers that I can fold so I will fit in 
a car and small toilets :-) .
The page is in Dutch but has some nice pictures..
http://www.deredere.dds.nl/Jurksupport/Jurksupport.html

Greetings,
        Deredere




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1--Good dry cleaners are especially equipped to deal with stains, if they 
know about them.

2--If she wants to treat it herself, I have sometimes had good luck with the 
Carbona formula for red wine stains.  But if it is really soaked in, she may 
be out of luck.

Ann Wass
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Subject: Re: [h-cost] Re: sewing regular clothes
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In a message dated 2/23/2004 10:31:35 PM Eastern Standard Time, 
athurman@cybergal.com writes:
or tailored work pants, in anything
resembling a natural fiber and with good fit you practically HAVE to do it
yourself.
I have actually had very good luck the last couple of years (since I lost 
weight and got down to a size 14) finding moderately priced lined wool slacks--no 
way I would attempt to make those myself anymore, with fly front, applied 
waistband, lining, and all.  But I have several large department stores to choose 
from in this area--metropolitan Washington.  And I am satisfied with the 
workmanship.  
Almost bought some wool skirts from a catalogue this fall, but then found 
what I needed at a thrift store--another good source for quality made garments.  
I also lucked out and found a lined silk skirt last spring at another thrift 
store.  As I am very "hippy," I prefer skirts with some fullness.  They are 
getting hard to find--everything is either straight or a floaty print--so I may 
eventually have to resort to making some again.
Haven't bought a suit in a long time, as I hardly ever wear one anymore.  The 
last two I bought were a Pendleton in San Francisco and moderate sportswear 
separates (the Pendleton was separates, too, as I am always bigger at bottom 
than top, even at my best).

Ann Wass
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From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] Re: sewing regular clothes
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> Almost bought some wool skirts from a catalogue this fall, but then found 
> what I needed at a thrift store--another good source for quality made garments.  
> I also lucked out and found a lined silk skirt last spring at another thrift 
> store.  As I am very "hippy," I prefer skirts with some fullness.  They are 
> getting hard to find--everything is either straight or a floaty print--so I may 
> eventually have to resort to making some again.
> 
> 
> Ann Wass
> 
   Delurking...
  I am fairly curvy - small waist, wider hips -  and have found that 
those dratted, off the rack skirts NEVER fit properly. Plus, the straight 
ones never look good, so I've become a lover of fuller skirts myself. 
I've found that a half-circle skirt is the solution to my problems. I'm 
not a great seamstress (and can only hope to accomplish a fraction of 
what you all have made in terms of costumes!) but can whip up one of 
these skirts in two or three hours. I usually use an invisible zipper and 
a hook and eye arrangement for the waistband. The whole affair is much 
cheaper in the longrun as it fits and I get lots of swishy fabric at the 
hem. 
  Now, if only I could do a really neat embroidered border at the hem...

  By the way, I'm trying to find a petticoat pattern to go with my 
half-circle skirts. I sort of thought I would be able to use something 
from the 1890's or so, but haven't been able to really find something 
that doesn't involve LOTS of ruffles. It would be no problem to make my 
own pattern, I'm just not sure about how to go about it. I guess I need 
to find out more about petticoats in general. Any suggestions? Am 
particularly interested in the types of fabrics used. What about static 
cling? And what's the difference between a slip and petticoat anyway?

  Hopelessly ignorant of historic fashion,

  Kate



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Subject: Re: [h-cost] Portrait of Catherine Parr
References: <4.3.1.2.20040223130144.00dbb5a0@mail.frys.com><02c201c3fa5a$95b0f9f0$e0023841@HELENPINTO>	<403AD9F1.8070300@dandy.net>
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Ooh, thanks!
I like the deep red of her gown.  The folded-back lining of her 
oversleeves looks to be some sort of golden-colored fur.  What kind of 
fur would that likely be?
--sue

Linda Walton wrote:

> For those who are interested in this period, here is a recently-recognised
> portrait of Catherine Parr, (the wife who survived Henry VIII):-
> http://www.bbc.co.uk/radio4/today/reports/arts/parr_20040224.shtml
> destined for the Queens' Chamber at Hever Castle.
> 


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From: Bettina Anderson <bettina.anderson@direcway.com>
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Subject: [h-cost] Semi-OT: Pattern Filing
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I know this was a thread from last weekend, but I just got around to my
e-mail today.  What I use are two (so far) standard office file cabinets
from WalMart or where ever (~$15-20each).  I laid an 8ft piece of solid
butcherblock across it (could be laminate countertop, from the homecenter)
and that's my worktable.  The patterns get filed in brown kraft envelopes
(after they have been used) which get labeled with the pattern info and a
copy of the pattern envelope on the outside.  The envelope holds all the
bits, so I don't have to try to fold everything back into the little pattern
envelope.  Muslins can be filed right with the pattern, in a regular hanging
folder.

Bettina


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	If you can afford them -file cabinets are the best by far. Sturdy, durable,
protective storage with lots of room and holds almost any size.
You don't need hanging folders but some sort of hanging (or fixed) divider
will make it easier to organize - by company, envelope size, type, etc.

Also manila envelopes for those standard company size ones that will never
fit back into the original envelope - staple or paper clip the orginal
envelope to the front. You can also attach fabric samples and photos of the
finished project if you want. The manila envelopes can also be used for
patterns you drafted yourself, attach a copy of the original source picture
to the front and put your research notes in with and you've got a pretty
complette record of the project all in one spot. Again, add a phot of the
finished outfit and you'll have a total history.


Do I feel silly, now that I posted my suggestion, I come across this
e-mail....well, I second what they suggested!

Bettina


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From: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Portrait of Catherine Parr
To: Historical Costume <h-costume@indra.com>
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 Have they taken this link down?

> Linda Walton wrote:
> 
> > For those who are interested in this period, here
> is a recently-recognised
> > portrait of Catherine Parr, (the wife who survived
> Henry VIII):-
> >
>
http://www.bbc.co.uk/radio4/today/reports/arts/parr_20040224.shtml
> > destined for the Queens' Chamber at Hever Castle.
> > 
> 
> 
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=====
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In a message dated 2/24/2004 8:54:30 AM Central Standard Time, 
bettina.anderson@direcway.com writes:
Also manila envelopes for those standard company size ones that will never
fit back into the original envelope - staple or paper clip the orginal
envelope to the front. You can also attach fabric samples and photos of the
finished project if you want. The manila envelopes can also be used for
patterns you drafted yourself, attach a copy of the original source picture
to the front and put your research notes in with and you've got a pretty
complette record of the project all in one spot. Again, add a phot of the
finished outfit and you'll have a total history.


Actually, I did the manila envelope thing for a while, and discovered that 
even my envelopes were getting quite ragged and torn on the patterns that I used 
frequently.  At that point, I switched to economy/gallon sized ziplock bags.  
They keep the whole thing completely protected, even from when my 3 year old 
nephew throws a cup of apple juice across my work area (has happened TWICE!) 
and I can see what pattern it is without having to staple anything to the front.

-Tiffany
Reflections*of*Worth
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Don't think so.  I tried it successfully within the past hour.
--sue

Catalina Saravia Quicedo wrote:

>  Have they taken this link down?
> 
> 
>>Linda Walton wrote:
>>
>>
>>>For those who are interested in this period, here
>>
>>is a recently-recognised
>>
>>>portrait of Catherine Parr, (the wife who survived
>>
>>Henry VIII):-
>>
> http://www.bbc.co.uk/radio4/today/reports/arts/parr_20040224.shtml
> 
>>>destined for the Queens' Chamber at Hever Castle.
>>>
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume 
> 
> 
> =====
> Seńora Catalina
> Aurum peccamenes multifariam texit
> 
> 
> 	
> 	
> 		
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In a message dated 2/24/2004 5:42:18 AM Central Standard Time, 
linda.walton@dsl.pipex.com writes:
For those who are interested in this period, here is a recently-recognised
portrait of Catherine Parr, (the wife who survived Henry VIII):-
http://www.bbc.co.uk/radio4/today/reports/arts/parr_20040224.shtml
destined for the Queens' Chamber at Hever Castle.

Linda Walton.



Now, that is interesting.  I love it when they find a new portrait!  I wish 
the site discussed their process in identifying the sitter, though.  The 
headdress that she is wearing is more the style of the 15-teens and 1520's, which 
would have made Catherine Parr too young to be the sitter.  The style of the 
dress is also earlier than the portrait date would have to be - I think the 
sitter looks at least 20-something?  But obviously they must have had compelling 
reasons for identifying it as Parr.

-Tiffany
Reflections*of*Worth
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> Ooh, thanks!
> I like the deep red of her gown.  The folded-back lining of her 
> oversleeves looks to be some sort of golden-colored fur.  What kind of
> fur would that likely be? --sue

There is such a heavy coating of varnish on this that I don't believe 
I'd trust the color of the fur. Look at the "white" part of the 
gable. It's almost as yellow. So if this portrait were cleaned of its 
varnish it might be a grey fur.

Kat
<kat@redtrollforge.com>


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> For those who are interested in this period, here is a
> recently-recognised portrait of Catherine Parr, (the wife who survived
> Henry VIII):-
> http://www.bbc.co.uk/radio4/today/reports/arts/parr_20040224.shtml
> destined for the Queens' Chamber at Hever Castle.

That's a very interesting portrait. Another gable to add to my 
collection.

I wonder how they decided who it is. They recently decided that a 
picture which I'd always been told was of Jane Grey was actually of 
Kat Parr by identifying the dress and the distinctive jewels from an 
inventory. The jewels and dress in this one aren't so distinctive.

I was actually disappointed by some of the paintings at Hever. Some 
seemed to be poor obviously later copies of the people. I hope this 
one is of better calibre.

Kat
<kat@redtrollforge.com>


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Tried soaking the stain in Oxyclean? As a sister
highly-allergic-to-wool-type myself, I haven't tried this, but some of my
friends have, and it seemed to work just fine.

Arlys

On Mon, 23 Feb 2004 18:40:21 -0800 (PST) Lil Sorepaws
<sorepaws@yahoo.com> writes:
> 
> Hi, trying to help out a friend .. she got red wine on a white wool 
> coat
> .. especially soaked into the fringes .. she'd like to try to clean 
> it
> herself before a dry-cleaner ends up setting the stain - any 
> suggestions
> from you ladies (and gentlemen) who deal with wool?  I am violently
> allergic so I never bothered to learn to clean it since I cannot 
> wear it
> ... ANy advice is much appreciated!
> 
> Thanks!
> 
> - Lil the lethargic lurker ;)
> _______________________________________________
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> 


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> I almost missed this thread.

oh me too!

My name is Cassandra and I am 37 years old. I'm an American living in
Munich, Germany working as a translator and technical writer. I've been here
this time round for 7.5 years.

I have been sewing since I was 12. My mom always sewed and she used to make
me yummy things and then I got started making my own school clothes because
I never found what I really liked though when I did I couldn't afford it. I
used to be a member of the SCA but life got a hold of me and I've let my
membership lapse. My main interest was in garb (actually still is) of
various centuries but meeting my husband and starting up a business has kept
me from doing much for the past year and half - the last major thing I did
was my first attempt at late 16th century - a dress I wore to Deredere's
wedding. I have all sorts of projects in my head but not enough umpf to get
them done at the moment - plus within the next few weeks a baby boy will
invade my life and demand my attention :))) It might be good though - little
kiddy clothes are faster to make than big people clothes most of the time
:)))

I wish I had the space and talent Deredere has :))))

Cass :)



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Hi there...  sorry for the lousy ASCII art...  didn't mean to confuse 
things.  I'll try my best to explain ...
         Something you might want to look for is a reference to "hemstitch" 
or "Venetian hemstitch" or "Open hemstitch"

ok...  I'll give this a whirl...

(20 minutes later...   )  ok that didn't work...   try this 
http://www.embroideryden.com.au/embroidery_stitch_guide.htm  scroll down to 
"hemstitch"

best of luck.
Bridgette - who just can't seem to describe this stitch  ; >




>I like the idea of a turned hem with a bit of
>openwork, but I don't understand how I would
>accomplish that. When I do a hem I end up with little
>stitches on the outside of the garment that are
>basically perpendicular the the hem edge; I don't see
>how that converts to openwork. Bridgette, from your
>ASCII drawing, are you saying that I should throw in a
>horizontal stitch between the normal, slanted heming
>stitches? Would that be enough to create holes in the
>fabric, or should I pull threads out parallel to the
>hem? Sorry for all the questions, but I've only ever
>read about openwork and have never done it.

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References: <4.3.1.2.20040223130144.00dbb5a0@mail.frys.com><02c201c3fa5a$95b0f9f0$e0023841@HELENPINTO>	<403AD9F1.8070300@dandy.net>	<004c01c3faca$f1aeac00$97725651@bella>
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This portrait seems similar to the one at Lambeth 
(http://tudorhistory.org/parr/otherparr.jpg). Does anyone have info on 
the provenance of either one? Is one a copy?

- Hope


> Linda Walton wrote:
> For those who are interested in this period, here is a 
> recently-recognised
> portrait of Catherine Parr, (the wife who survived Henry VIII):-
> http://www.bbc.co.uk/radio4/today/reports/arts/parr_20040224.shtml
> destined for the Queens' Chamber at Hever Castle.


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I asked on a message board for Patrick O'Brian fans, and someone came up
with http://www.pbs.org/wgbh/nova/escape/timeship.html#lifejacket 
- not 18th century, though.


>>> kayta@frys.com 2/23/04 9:03:38 PM >>>
I read, in an un-documented list of first occurrences, that the first
life 
jacket was created for the English Navy in the 1700s.  Where would I
look 
to find an image of one of these, or the specifications on them?  I
don't 
even know where to start.

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

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

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi.
I have started a new hobby, i tryed to make some ribbon embroidery.
http://www.my-drewscostumes.dk/chenillesuit.htm
Scroll down to the bottom of the side.
However i ran out of ribbon, and in the waiting of new ribbons to come, i started to make the buttons.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] blue ribbed silk waistcoat
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*Sigh* Gorgeous, as always , Bjarne!
Albra

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
Hi.
I have started a new hobby, i tryed to make some ribbon embroidery.
http://www.my-drewscostumes.dk/chenillesuit.htm
Scroll down to the bottom of the side.
However i ran out of ribbon, and in the waiting of new ribbons to come, i started to make the buttons.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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I'm replying to two messages:


> From: kat@grendal.rain.com
> I wonder how they decided who it is. They recently decided that a 
> picture which I'd always been told was of Jane Grey was actually of 
> Kat Parr by identifying the dress and the distinctive jewels from an 
> inventory. The jewels and dress in this one aren't so distinctive.

> From: Hope Greenberg <hope.greenberg@uvm.edu>
> This portrait seems similar to the one at Lambeth 
> (http://tudorhistory.org/parr/otherparr.jpg). Does anyone have info on 
> the provenance of either one? Is one a copy?

My comments:

I'm kind of suspicious of the identification of the 'new' portrait as 
K.P. for 2 reasons:

1) The obvious age of the sitter, which HAS to be at least 35 or older. 
Maybe much older. She looks awfully haggard, even accounting for the 
beauty standards of the day.

2) The style of the clothing is too early for her to have been painted 
in it at that age, IMO.

I think this woman is too old to be K.P. Also, she doesn't look anything 
like other portraits of K.P.:
http://www.marileecody.com/parr-scrots.jpg

However, I think that it's likely that the 'new' one and the (virtually 
identical) one at Lambeth Palace are really of Catherine of Aragon. She 
was old enough at the time those clothes were fashionable to be the lady 
in the picture, and it bears stong resemblances to portraits done later 
in her life. In particular, this one:
http://www.marileecody.com/aragon2.jpg

Of course, I could be wrong.

M.

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Status: RO

That looks absolutely cute!

Bjarne og Leif Drews wrote:

>Hi.
>I have started a new hobby, i tryed to make some ribbon embroidery.
>http://www.my-drewscostumes.dk/chenillesuit.htm
>Scroll down to the bottom of the side.
>However i ran out of ribbon, and in the waiting of new ribbons to come, i started to make the buttons.
>
>Bjarne
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>_______________________________________________
>h-costume mailing list
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>
>  
>



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Date: Tue, 24 Feb 2004 12:41:06 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] period life perservers, PFDs
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Status: RO

Thank you so much for this reference.  We're having trouble with any 
period-like idea we have because of the drowning problem mentioned in this 
article.  So we're stuck with using only Coast Guard approved modern ones 
when rowing our period replica boat wearing our period replica 
clothes.  Coast Guard approved PFDs (personal flotation devices) can only 
be worn over clothing, not under it, and only seem to come in bright modern 
colors.

The drowning hazard is also why it was decided that all our rowers had to 
wear men's clothing.  Staying alive in the water is difficult to impossible 
in multiple wet petticoats, and 18th century cork bum rolls would only make 
the wearer float face down, and drown if they were unconscious.  The 
Captain/owner of our rowboat says it is certain that one day the boat will 
capsize, and that's just a fact of maritime life.  We might have to break 
character to explain to any mundane visitors about women-as-men rowers in 
breeches, but we decided that drowning was excessively authentic.

>I asked on a message board for Patrick O'Brian fans, and someone came up
>with http://www.pbs.org/wgbh/nova/escape/timeship.html#lifejacket
>- not 18th century, though.

>I read, in an un-documented list of first occurrences, that the first
>life
>jacket was created for the English Navy in the 1700s.  Where would I
>look
>to find an image of one of these, or the specifications on them?  I
>don't
>even know where to start.


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

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In a message dated 2/24/2004 3:26:42 PM Central Standard Time, 
jauncourt@verizon.net writes:
Of course, I could be wrong.

M.


Actually, I wholeheartedly agree with you ... that's why I was wondering what 
they were basing this on.  The clothing, the style of the portrait, the age 
and appearance of the sitter ... none of this seems to indicate KP to me.  But, 
I'm certainly no expert on antique art.

-Tiffany
Reflections*of*Worth
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] period life perservers, PFDs
References: <4.3.1.2.20040224120521.05c2e430@mail.frys.com>
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The OED has a citatation for life preserver from 1804 in the Naval Chronicles, a
series of dispatches from 1793-1815.  "The plan of the ‘Life Preserver’ here
mentioned is borrowed from that of Commissary Bosquet".

Although originals might be hard to track down, they have been rereleased as a
five volume set called "The Naval chronicle : the contemporary record of the
Royal Navy at war" edited by Nicholas Tracy
 
The ISBNs are:

0811711072 (U.S. : v.1) 
 1861760914 (U.K. : v.1) 
 0811711080 (U.S. : v.2) 
 1861760922 (U.K. : v.2) 
 0811711099 (U.S. : v.3) 
 1861760930 (U.K. : v.3) 
 0811711080 (U.S. : v.4) 
 1861760949 (U.K. : v.4) 
 0811711110 (U.S. : v.5) 
 1861760957 (U.K. : v.5) 

cheers,

Joanna

Quoting Carolyn Kayta Barrows <kayta@frys.com>:

> Thank you so much for this reference.  We're having trouble with any 
> period-like idea we have because of the drowning problem mentioned in this 
> article.  So we're stuck with using only Coast Guard approved modern ones 
> when rowing our period replica boat wearing our period replica 
> clothes.  Coast Guard approved PFDs (personal flotation devices) can only 
> be worn over clothing, not under it, and only seem to come in bright modern 
> colors.
> 
> The drowning hazard is also why it was decided that all our rowers had to 
> wear men's clothing.  Staying alive in the water is difficult to impossible 
> in multiple wet petticoats, and 18th century cork bum rolls would only make 
> the wearer float face down, and drown if they were unconscious.  The 
> Captain/owner of our rowboat says it is certain that one day the boat will 
> capsize, and that's just a fact of maritime life.  We might have to break 
> character to explain to any mundane visitors about women-as-men rowers in 
> breeches, but we decided that drowning was excessively authentic.
> 
> >I asked on a message board for Patrick O'Brian fans, and someone came up
> >with http://www.pbs.org/wgbh/nova/escape/timeship.html#lifejacket
> >- not 18th century, though.
> 
> >I read, in an un-documented list of first occurrences, that the first
> >life
> >jacket was created for the English Navy in the 1700s.  Where would I
> >look
> >to find an image of one of these, or the specifications on them?  I
> >don't
> >even know where to start.
> 
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 




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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] Portrait of Catherine Parr
Date: Tue, 24 Feb 2004 17:10:51 -0600
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> From: kat@grendal.rain.com
> I wonder how they decided who it is. They recently decided that a
> picture which I'd always been told was of Jane Grey was actually of
> Kat Parr by identifying the dress and the distinctive jewels from an
> inventory. The jewels and dress in this one aren't so distinctive.


 It is pretty difficult to decide who is who in what portrait and what is
"original" and what is a copy at this time period.  Look at the painting
long thought be of Katherine Howard, but now id'ed as a sister of Jane
Seymour? One wonders how many portraits done by Holbein perhaps were
deliberately destroyed when the person depicted was convicted of
treason--Anne Boleyn, George Boleyn and others come to mind or perhaps later
during the Civil War when supporting the royal family in any form was
suspect.  Painting on panel might be decent firewood for those with no
respect for history, as well as Mother Nature's workings with fire, flood,
etc.

Cindy Abel

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From: "Helen  Pinto" <hpinto@mindspring.com>
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CarolynKayta wrote:

 We're having trouble with any
> period-like idea we have because of the drowning problem mentioned in this
> article.  So we're stuck with using only Coast Guard approved modern ones
> when rowing our period replica boat wearing our period replica
> clothes.  Coast Guard approved PFDs (personal flotation devices) can only
> be worn over clothing, not under it, and only seem to come in bright
modern
> colors.
>

It looks like there may be two possible solutions- either make a cork
life-vest,
following the Coast Guard regs by strengthening the collar to place the head
at
the correct angle and putting most of the blocks in the front to get the
buoyancy
in the correct place; or else, make a canvas cover for a modern life-vest,
so at
least it won't fluoresce and look as out of place with period clothing.
                                -Helen/Aidan


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Ann wrote on Tuesday, February 24, 2004 1:22 AM

> Thanks for that info.  No clue as to who owned/wore it?

Alas, no. Since it's a Spitalfields silk one assumes English, but we
have no more than that...

best wishes
Stevie

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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
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Subject: Re: [h-cost] Portrait of Catherine Parr
Date: Tue, 24 Feb 2004 17:45:57 -0800
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Status: RO

I agree about everyone else's suspicions about this portrait being Catherine
of Aragon rather than Parr based on its resemblance to other portraits of
both and the age/style of dress, so started poking around...

You can listen to the actual interview on the BBC's site here:
http://www.bbc.co.uk/radio4/today/listenagain/ (program 0822)

In the interview Starkey (the historian who "discovered" the identity of
this portrait, and who also hosted the recent "Six Wives of Henry VIII" BBC
tv show) talks about dating it based on what she's wearing -- he says that
the gable hood dates it to the late 1520s, when Parr was in her late teens,
and that the pearls are a gift from her mother (Maud Green [sp?]).
Tudor/Elizabethan people -- is that correct?

I just looked up Parr and it looks like she was born in 1512, so by say 1530
she'd be 18.

Starkey says in the interview that it's 90% likely to be Parr.  I wonder if
he'll publish anything to detail how he made identification?

- Kendra
http://demode.tweedlebop.com/

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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
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Subject: [h-cost] 1780s skirt supports
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Hi all,

For those of you who have made 1780s robes a l'anglaise, what do you find
works best for skirt supports?  I'm planning to make something along the
lines of this dress:
http://www.metmuseum.org/collections/view1zoom.asp?dep=11&zoom=0&full=1&mark
=2&item=67%2E55%2E1

...and I'm wondering how many under-petticoats I should make, and whether I
should make a bumroll (by which I mean a roll that goes around the back AND
hips) or just a bumpad (back only).

Any suggestions appreciated!

Thanks,

Kendra

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Portrait of Catherine Parr
Date: Tue, 24 Feb 2004 20:58:43 -0500
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On Tuesday 24 February 2004 03:28 pm, Maura Folsom wrote:

> My comments:
>
> I'm kind of suspicious of the identification of the 'new' portrait as
> K.P. for 2 reasons:
>
> 1) The obvious age of the sitter, which HAS to be at least 35 or older.
> Maybe much older. She looks awfully haggard, even accounting for the
> beauty standards of the day.

Depends on when it is assumed to be done.  Katherine Parr would have been in 
her 30s by the time she met King Henry, and her health went downhill quick 
after her pregnancy by subsequent husband Tom Seymour.  

Moreover, even if I thought the portrait showed her as looking too old for her 
likely age, I wouldn't necessarily assume the attribution was wrong.
Some painters were merely incompentent.  Witness the famous portrait of Anne 
Boleyn, which makes her look old and homely to boot.


> 2) The style of the clothing is too early for her to have been painted
> in it at that age, IMO.

There I agree with you.  If memory serves me, Katherine Parr met King Henry in 
the early 1540s when she was a bit past 30.  The clothes in this picture, 
however, look like the clothing shown in the famous portrait of Katherine of 
Aragon--a generation earlier.



[snip]

> However, I think that it's likely that the 'new' one and the (virtually
> identical) one at Lambeth Palace are really of Catherine of Aragon. She
> was old enough at the time those clothes were fashionable to be the lady
> in the picture, and it bears stong resemblances to portraits done later
> in her life. In particular, this one:
> http://www.marileecody.com/aragon2.jpg
>
> Of course, I could be wrong.

You could.  But if I had to bet on the outcome, I'd be more willing to bet on 
your theory than theirs.


-- 
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] Portrait of Catherine Parr
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In a message dated 2/24/2004 7:47:22 PM Central Standard Time, 
kendra@tweedlebop.com writes:
In the interview Starkey (the historian who "discovered" the identity of
this portrait, and who also hosted the recent "Six Wives of Henry VIII" BBC
tv show) talks about dating it based on what she's wearing -- he says that
the gable hood dates it to the late 1520s, when Parr was in her late teens,
and that the pearls are a gift from her mother (Maud Green [sp?]).
Tudor/Elizabethan people -- is that correct?

I just looked up Parr and it looks like she was born in 1512, so by say 1530
she'd be 18.


:oX  Sheesh .. leave it to a guy.  ::ducking::

I dunno.  I would put that hood earlier than the late 1520's.  By then the 
French Hood was very much becoming en vogue, and the gable hood began to shrink 
upwards.  The jeweled part of the paste began to come up toward the chin, and 
then progressed on up to cheek height (think the famous portrait of Jane 
Seymour, in the mid 1530's).  This hood looks to me much more like the 15teens or 
VERY early 20's at the latest.  

Also, the plainness of the fabrics in the gown just doesn't jive to me with 
that time period.  Once the houppelande went out and gowns began to be what we 
now think of as "Tudor" in style, the progression was very fast toward using 
elaborate textiles, furs, and lots of beady trims.  The other well-known 
portrait of KP shows her to have been extremely fashionable, wearing a stylish and 
up-to-date gown and the latest in headwear.  

Annnnnnd finally ... that person just does not look late teens to me at all, 
but much older.  The later period portrait of KP, she looks her age if not 
younger, so I don't think it's that she just looked peaked at an early age.  If 
he's solely basing this opinion on the pearls, then I wish someone would remind 
him that they could have been a family heirloom (and this portrait could be 
of someone in her family, but not her), or the pearl necklace could have been 
purchased or otherwise acquired by the family at some point between this 
portrait being painted, and the pearls being given to KP.

-Tiffany
Reflections*of*Worth
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> In the interview Starkey (the historian who "discovered" the identity 
> of
> this portrait, and who also hosted the recent "Six Wives of Henry 
> VIII" BBC
> tv show) talks about dating it based on what she's wearing -- he says 
> that
> the gable hood dates it to the late 1520s, when Parr was in her late 
> teens,
> and that the pearls are a gift from her mother (Maud Green [sp?]).
> Tudor/Elizabethan people -- is that correct?

Much as I dislike Starkey, I agree with him here.  Catherine Parr was 
definitely "old enough" to be wearing the gable hood when it was in 
fashion, although it was certainly at the end of it's run as the hat of 
choice for fashionable women.  Considering that Holbein painted Jane 
Seymore as Queen in the gable hood well into the 1530's, it's more than 
reasonable to assume that Parr would have continued to wear it as well. 
  The other argument, that the sitter looks too old to be CP is really 
not relevant because the skills of the artist may be to blame for that 
one.

Starkey mentions other items such as pearls that lead him to believe 
it's Catherine.  As much as he annoys me, he's still much more educated 
than I am in the matter, so I'm going to trust he knows what he's 
talking about.  :)

Sarah
http://www.modehistorique.com

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From: "Ron Carnegie" <r.carnegie@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] period life perservers, PFDs
Date: Tue, 24 Feb 2004 22:06:45 -0500
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	I may have missed something here.  Are those onboard in question under age?
The coast guard requires floatation devices be available for all people
present on a vessel, and certain extras depending upon the size of the
vessel.  They are NOT required to be worn however, just present.  They are
however sometimes required by insurance conventions, though this seems to
have more to due with paying passengers and minors.

   That being said, of course in certain weather conditions it is a good
idea to wear them, and some sailors always wear them, or so I am told.  I
have yet to see evidence of this.

   I do realize that I may have missed some important point here however as
I had not been following this thread closely and I notice reference to some
article which I have not read.

    I sail on a period vessel.  Our safety equipment is all modern and I
would suggest the same to you.  Our pfds are usually out of sight, but
easily available in need.  Our vessel is large (well compared to yours) so
we do have life rafts which are visible when we are underway, as are the man
overboard flotation rings which are connected to bouys with flags.  DO NOT
try to make or alter a PFD as they do have to be USCG approved or they are
in violation of the law.

  In a very lame attempt to bring my points back to topic (though they might
still be as accessories).  Back when I was still in Californian I used to
work for the Renaissance Pleasure Faires (living history Centre in them
days).  There was a parade in the afternoon called the dead band.  People
would be costumed in various shades of black or gray and would play various
often very funky instruments and walk or dance through out the faire.  I
always wanted to do a 16th century sailors outfit with a skull mask but with
jewels for eyes (as referenced in Clarence's dreams in Shakespeare's Richard
the Third.  I would bedeck the whole ensemble with long strands of seaweed
and kelp!

   Most impressive encounter I ever had with this parade was a noble lady.
She wore a beautiful black and gray velvet Elizabethan gown and held before
her a featureless white mask on a stick.  She danced up to me in what seemed
to me like a very seductive manner and I found her very attractive, even
though in reality all I saw was the mask.  When she was just in front of me,
her face at least in my memory of the event only inches from mine, she
dropped the mask, revealing a skull mask that she wore directly on her face.
The effect was great!  Not only was a completely startled by the
transformation, but what a great visualization of the fleeting nature of
beauty (or life for that matter)!  Well done.  I always wished I could let
her know how impressed I was, but I never did find out who it was.

Ron Carnegie


> CarolynKayta wrote:
>
>  We're having trouble with any
> > period-like idea we have because of the drowning problem
> mentioned in this
> > article.  So we're stuck with using only Coast Guard approved
> modern ones
> > when rowing our period replica boat wearing our period replica
> > clothes.  Coast Guard approved PFDs (personal flotation
> devices) can only
> > be worn over clothing, not under it, and only seem to come in bright
> modern
> > colors.
> >
>
> It looks like there may be two possible solutions- either make a cork
> life-vest,
> following the Coast Guard regs by strengthening the collar to
> place the head
> at
> the correct angle and putting most of the blocks in the front to get the
> buoyancy
> in the correct place; or else, make a canvas cover for a modern life-vest,
> so at
> least it won't fluoresce and look as out of place with period clothing.
>                                 -Helen/Aidan
>
>
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From h-costume-bounces@indra.com  Tue Feb 24 22:27:08 2004
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Portrait of Catherine Parr
Date: Tue, 24 Feb 2004 22:25:11 -0500
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On Monday 12 January 1970 09:37 pm, Sarah wrote:
[snip]

> Much as I dislike Starkey, I agree with him here.  Catherine Parr was
> definitely "old enough" to be wearing the gable hood when it was in
> fashion, although it was certainly at the end of it's run as the hat of
> choice for fashionable women. 

Being no expert on the headwear of the period, I'll defer to your opinion 
here.

> Considering that Holbein painted Jane
> Seymore as Queen in the gable hood well into the 1530's,

Albeit a somewhat different style of gable hood.

>Though
> it's more than
> reasonable to assume that Parr would have continued to wear it as well.
>   The other argument, that the sitter looks too old to be CP is really
> not relevant because the skills of the artist may be to blame for that
> one.

I agree with you completely there.

Starkey is likely correct that the portrait was painted in the late 1520s.  
However, other than the pearls, the BBC article doesn't really explain why he 
thinks it's a young Catherine Parr rather than an older somebody else.

>
> Starkey mentions other items such as pearls that lead him to believe
> it's Catherine.  As much as he annoys me, he's still much more educated
> than I am in the matter, so I'm going to trust he knows what he's
> talking about.  :)

Maybe.  But the BBC article doesn't give much of his reasoning, which I would 
be curious to hear.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From h-costume-bounces@indra.com  Tue Feb 24 23:46:39 2004
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From: "Joanna Hobbins" <jhobbi2@po-box.mcgill.ca>
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Subject: Re: [h-cost] 1780s skirt supports
Date: Tue, 24 Feb 2004 23:43:58 -0500
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While I have not yet made a robe a l'anglasie, I do have a copy of Pattern
Diagrams for Three Eighteenth-Century Dresses in the Royal Ontario Museum
(Series 1 and 2).

The sewing instructions for the Robe a I'anglaise, c. 1783-1784 are as
follows:
The distinguishing feature of this dress is the pointed back of the bodice.
By the 1780s the back of the bodice was no longer cut in one with the back
of the skirt. Depending on the type of fabric used and on the trimmings,
this style could be worn for day or evening. It was not "full dress".
The original dress is made of paper-light pink silk and the petticoat of the
same texture has vertical pink and white stripes. The hem is faced with very
lightweight wool.
The overskirt may be worn full length or drawn up in three puffs with a pair
of looped tapes attached with buttons at the hips. Skirt and petticoat
should be worn over a kidney-shaped bustle pad. The neckline may be filled
in with a muslin fichu or edged with muslin-like lace.
For the robe a I'anglaise a stiff foundation bodice is essential to obtain
the correct shape and fit. The shape of the dress bodice is determined by
that of the corset; in fact, the shape of the corset may be taken from the
dress bodice pattern.

I hope this helps.

cheers,

Joanna
----- Original Message ----- 
From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: <h-costume@indra.com>
Sent: Tuesday, February 24, 2004 8:50 PM
Subject: [h-cost] 1780s skirt supports


> Hi all,
>
> For those of you who have made 1780s robes a l'anglaise, what do you find
> works best for skirt supports?  I'm planning to make something along the
> lines of this dress:
>
http://www.metmuseum.org/collections/view1zoom.asp?dep=11&zoom=0&full=1&mark
> =2&item=67%2E55%2E1
>
> ...and I'm wondering how many under-petticoats I should make, and whether
I
> should make a bumroll (by which I mean a roll that goes around the back
AND
> hips) or just a bumpad (back only).
>
> Any suggestions appreciated!
>
> Thanks,
>
> Kendra
>
> _______________________________________________
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> Depends on when it is assumed to be done.  Katherine Parr would have
> been in her 30s by the time she met King Henry, and her health went
> downhill quick after her pregnancy by subsequent husband Tom Seymour. 

Supposedly she was married to Latimer at the time of the "new" 
portrait. That would have been after Anne Boleyn. According to 
information from several books (such as quotes from the Lisle 
letters), the French Hoods we see during Anne Boleyn's time were 
almost forbidden under Jane Seymour. You start seeing them again 
during Kat Howard's time. During that middle period of time they went 
back to wearing the gable hood (although a few probably had never 
stopped wearing it.)

As to her health going downhill after her pregnancy, that's a bit of 
an understatement, since she died of child bed fever (much like Jane 
Seymour.)

> > 2) The style of the clothing is too early for her to have been
> > painted in it at that age, IMO.
> 
> There I agree with you.  If memory serves me, Katherine Parr met King
> Henry in the early 1540s when she was a bit past 30.  The clothes in
> this picture, however, look like the clothing shown in the famous
> portrait of Katherine of Aragon--a generation earlier.

But the portrait was painted while she was married to Lord Latimer, 
who was the husband she had before Henry. The clothes could very well 
be what was worn in that time period.

It's very difficult to precisely date a portrait from this time 
period using clothing references because there was so much overlap in 
the styles which were being worn, especially from 1520-1540. While 
there were new style innovations, the same people who wore those 
would also wear some of the older styles at other times. It's not 
like some periods when "everyone wore their hem this length" or "this 
was the way they made their sleeves" or "their necklines always were 
shaped like this." 

> > However, I think that it's likely that the 'new' one and the
> > (virtually identical) one at Lambeth Palace are really of Catherine
> > of Aragon. She was old enough at the time those clothes were
> > fashionable to be the lady in the picture, and it bears stong
> > resemblances to portraits done later in her life. In particular,
> > this one: http://www.marileecody.com/aragon2.jpg
> >
> > Of course, I could be wrong.
> 
> You could.  But if I had to bet on the outcome, I'd be more willing to
> bet on your theory than theirs.

On the other hand, Kateryne Parr (as *she* spelled her name) was well 
known to Catherine of Aragon's court. She could very well have 
deliberately been wearing clothes similar to CofA's clothing.

(By the way, most of the "Catherines" in the early 16th C spelled 
their name "Kateryne" when they were signing. Later people tended to 
change them to the now more familiar "Catherine" or "Katherine.")

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] 1780s skirt supports
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In a message dated 2/24/2004 8:58:48 PM Eastern Standard Time, 
kendra@tweedlebop.com writes:

> ...and I'm wondering how many under-petticoats I should make, 

Nice gown in the painting. 

I would think one medium weight petticoat would do. And without a ruffle or 
such thing at the hem. Look at how, especially at the front, the satin falls 
naturally. I don't detect any real bulk at the hem.




  and whether I
> 
> should make a bumroll (by which I mean a roll that goes around the back AND
> hips) or just a bumpad (back only).
> 

Yes, you'll need some padding. A bum roll is in order...perhaps with some 
sort of softening mechanism. I made some with a ruffle made from commercial 
quilting pleated in big [like"] box pleats to cover and hang over the edge of the 
pad a little [maybe about 12" or so deep]. The pad need not be too big but 
should come around the sides a little. Think horizontally. You don't want that 
very narrow silhouette from the front you get with an 1880s bustle...with it 
still narrow as it comes around the side hip. You want some bulk at the side 
hip...though not like a pannier. Maybe a regular bustle pad with that box pleated 
ruffle brought around to the sides.
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Subject: Re: [h-cost] 1780s skirt supports
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In a message dated 2/25/2004 12:47:49 AM Eastern Standard Time, 
AlbertCat@aol.com writes:

> big [like"] box pleats 

Oops....

make that 

big [like 2 to 3"] box pleats

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Subject: Re: [h-cost] Portrait of Catherine Parr
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In a message dated 2/24/2004 11:47:34 PM Central Standard Time, 
kat@grendal.rain.com writes:
On the other hand, Kateryne Parr (as *she* spelled her name) was well 
known to Catherine of Aragon's court. She could very well have 
deliberately been wearing clothes similar to CofA's clothing.


Okay, I'm a little confused by this.  Katherine Parr was not raised at court, 
so I don't see how she could have been well known there in Catherine of 
Aragon's time? 

KP could not have been at court before the age of 13, and she married for the 
first time in 1526 at the age of 14.  She and her first husband were not 
courtiers.  By the time KP's first husband died in 1529, Catherine of Aragon 
didn't have a court anymore.  And I would think that during the late 1520's/early 
1530's, very few sane people deliberately tried to imitate Catherine of 
Aragon's anything.  It would have been an unhealthy association at best.

KP was married to Lord Latimer in 1533/4.  Since he was one of the leaders of 
the catholic Pilgrimage of Grace and only narrowly escaped with his life, to 
me the idea that his wife would do anything during their marriage to *try* to 
look like a deceased catholic figurehead, is hard to imagine.  

It is possible that someone could have been wearing this outdated bonnet 
later than the 1520's, but it seems to me that it is unlikely for a woman like 
Katherine Parr, who was utterly up-to-date and fashionable in the portraits that 
are confirmed to be of her.

-Tiffany
Reflections*of*Worth
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] White Wool and Red Wine .. HELP!!
Date: Wed, 25 Feb 2004 00:35:43 -0600
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Carbona should have a bottle specifically for wine stains. You can usually
find this brand at Super Walmart or Jo Ann's Fabrics.

De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Cynthia J Ley
Sent: Tuesday, February 24, 2004 9:10 AM
To: h-costume@indra.com
Subject: Re: [h-cost] White Wool and Red Wine .. HELP!!


Tried soaking the stain in Oxyclean? As a sister
highly-allergic-to-wool-type myself, I haven't tried this, but some of my
friends have, and it seemed to work just fine.

Arlys

On Mon, 23 Feb 2004 18:40:21 -0800 (PST) Lil Sorepaws
<sorepaws@yahoo.com> writes:
>
> Hi, trying to help out a friend .. she got red wine on a white wool
> coat
> .. especially soaked into the fringes .. she'd like to try to clean
> it
> herself before a dry-cleaner ends up setting the stain - any
> suggestions
> from you ladies (and gentlemen) who deal with wool?  I am violently
> allergic so I never bothered to learn to clean it since I cannot
> wear it
> ... ANy advice is much appreciated!
>
> Thanks!
>
> - Lil the lethargic lurker ;)
> _______________________________________________
> h-costume mailing list
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Portrait of Catherine Parr
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On Wednesday 25 February 2004 12:46 am, kat@grendal.rain.com wrote:
> > Depends on when it is assumed to be done.  Katherine Parr would have
> > been in her 30s by the time she met King Henry, and her health went
> > downhill quick after her pregnancy by subsequent husband Tom Seymour.
>
> Supposedly she was married to Latimer at the time of the "new"
> portrait. That would have been after Anne Boleyn. According to
> information from several books (such as quotes from the Lisle
> letters), the French Hoods we see during Anne Boleyn's time were
> almost forbidden under Jane Seymour. You start seeing them again
> during Kat Howard's time. During that middle period of time they went
> back to wearing the gable hood (although a few probably had never
> stopped wearing it.)
>
> As to her health going downhill after her pregnancy, that's a bit of
> an understatement, since she died of child bed fever (much like Jane
> Seymour.)

I thought she'd survived the birth by several weeks, but yes, I was wallowing 
a bit in understatement, even so.  :-)


> > > 2) The style of the clothing is too early for her to have been
> > > painted in it at that age, IMO.
> >
> > There I agree with you.  If memory serves me, Katherine Parr met King
> > Henry in the early 1540s when she was a bit past 30.  The clothes in
> > this picture, however, look like the clothing shown in the famous
> > portrait of Katherine of Aragon--a generation earlier.
>
> But the portrait was painted while she was married to Lord Latimer,
> who was the husband she had before Henry. The clothes could very well
> be what was worn in that time period.

I withdraw my prior comment, since at that point I hadn't read the BBC article 
and didn't realize that part of the evidence Starkey was relying upon to date 
the painting was evidence of the clothing style.



> It's very difficult to precisely date a portrait from this time
> period using clothing references because there was so much overlap in
> the styles which were being worn, especially from 1520-1540. 

True.  In addition,  weren't some paintings later copies of earlier ones that, 
when originally done, did in fact show a fashionable style?


>While
> there were new style innovations, the same people who wore those
> would also wear some of the older styles at other times. It's not
> like some periods when "everyone wore their hem this length" or "this
> was the way they made their sleeves" or "their necklines always were
> shaped like this."
>
> > > However, I think that it's likely that the 'new' one and the
> > > (virtually identical) one at Lambeth Palace are really of Catherine
> > > of Aragon. She was old enough at the time those clothes were
> > > fashionable to be the lady in the picture, and it bears stong
> > > resemblances to portraits done later in her life. In particular,
> > > this one: http://www.marileecody.com/aragon2.jpg
> > >
> > > Of course, I could be wrong.
> >
> > You could.  But if I had to bet on the outcome, I'd be more willing to
> > bet on your theory than theirs.
>
> On the other hand, Kateryne Parr (as *she* spelled her name) was well
> known to Catherine of Aragon's court. She could very well have
> deliberately been wearing clothes similar to CofA's clothing.

Sure.  But this is begging the question, isn't it?  

The fact that the clothing shown in the portrait  is in a style fashionable in 
the late 1520s, and Catherine (or Katherine or Kateryne) Parr was an 
appropriate age to be wearing such clothes in the late 1520s, would not be 
sufficient to prove that the painting is of Catherine Parr, since the same 
would be true of many other noblewomen of Henry VIII's court (including, for 
that matter, Catherine of Aragon).  So Starkey rightly looks to other 
evidence--namely, the pearls, which he claims are clearly the ones that 
Catherine Parr was given. (Since the image of the painting the BBC ran did 
not show the pearls very clearly, I have to assume that they were, somehow, 
visually distinctive.)


>
> (By the way, most of the "Catherines" in the early 16th C spelled
> their name "Kateryne" when they were signing. Later people tended to
> change them to the now more familiar "Catherine" or "Katherine.")

Spelling in general was not real stable in the early 16th c., so I did not 
concern myself with which variations of the name I used in answering these 
posts.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Exciting news
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Thank you Dianne!  I told Patrick about all of h-costumes' good wishes.  He
was so excited and thrilled with everyone's support.  Mike T. has been a
wonderful person in inspiring Pat to go to college.  Tania has been emailing
Pat about what it is like to go to college in England. She did a semester in
England. All of you have been so wonderful!

The LIPA students in the program that Pat is going in, started emailing him
yesterday.  They are giving him the skinny about the college.  What to
expect and such.  Guess what Pat's first test will be???? Paul McCartney
plays a concert for the students.  His band deliberately messes up the
lights and sound equipment.  The students have up until the third song to
fix the problems. If they don't fix it, the band messes up the equipment
more, and the students try again.  I don't think Patrick would get this kind
of practical experience at any other college.

BTW, the only other American student in this tech program... her mother is a
costumer in Chicago who sells to films.  The admissions counselor said, "I
think this is becoming of trend with costumers' children in the U.S."

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


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Subject: [h-cost] Costumer in NYC
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One of our students is looking for a costumer in NYC to make something.  Please read below.  If interested please email me privately.

I live in the NYC area and was wondering if you knew of any good tailors who could custom make a period men's jacket for my boyfriend. He's looking for something post Civil War era and has some photo references of what he wants. Even if they aren't local, someone who might be able to do this remotely could work too...

Penny E. Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
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Date: Tue, 24 Feb 2004 23:10:56 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] period life perservers, PFDs
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>         I may have missed something here.  Are those onboard in question 
> under age?

Nope.

>     I sail on a period vessel.  Our safety equipment is all modern and I
>would suggest the same to you.

It is already.

>Our pfds are usually out of sight, but
>easily available in need.  Our vessel is large (well compared to yours) so
>we do have life rafts which are visible when we are underway, as are the man
>overboard flotation rings which are connected to bouys with flags.  DO NOT
>try to make or alter a PFD as they do have to be USCG approved or they are
>in violation of the law.

We already had that lecture from the Captain.  No problem there.

What I was wondering, speaking of on-topic, was if there was a way to have 
period PFDs that were Coast Guard approved.  So far, the period ones are 
nothing like the Coast Guard would approve.

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

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----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 2:50 AM
Subject: Re: [h-cost] Exciting news


> Thank you Dianne!  I told Patrick about all of h-costumes' good wishes.
He
> was so excited and thrilled with everyone's support.  Mike T. has been a
> wonderful person in inspiring Pat to go to college.  Tania has been
emailing
> Pat about what it is like to go to college in England. She did a semester
in
> England. All of you have been so wonderful!
>
> The LIPA students in the program that Pat is going in, started emailing
him
> yesterday.  They are giving him the skinny about the college.  What to
> expect and such.  Guess what Pat's first test will be???? Paul McCartney
> plays a concert for the students.  His band deliberately messes up the
> lights and sound equipment.  The students have up until the third song to
> fix the problems. If they don't fix it, the band messes up the equipment
> more, and the students try again.  I don't think Patrick would get this
kind
> of practical experience at any other college.

Geez, what a test. Can I go to school with Patrick? Please?

Considering some of the stuff I have seen at McCartney shows, this could be
quite a challenge!

Dianne

> BTW, the only other American student in this tech program... her mother is
a
> costumer in Chicago who sells to films.  The admissions counselor said, "I
> think this is becoming of trend with costumers' children in the U.S."
>
> Penny E. Ladnier
/h-costume

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In a message dated 2/25/2004 1:37:43 AM Central Standard Time, 
cathy@thyrsus.com writes:
Spelling in general was not real stable in the early 16th c., 


There goes that talent for understatement again LOL

-Tiffany
Reflections*of*Worth
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Subject: [h-cost] Help decifering a source (Tudor)
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Hello all, I need some help figuring out what a source is talking about.
I came across this passage in my research into the Tournaments during the
age of Henry VIII.
It says that the ladies wore "Milan point lace gowns of white satin" and
"Milan bonnets of gold with jewels" and that other ladies were dressed "like
Indian Women in black bonnets".
This is approximately 1522.
I have never heard of a lace gown or a Milan bonnet. Can someone please help
me figure out exactly what these garments are?

Thank you so much
Muirgheal
Molann an obair an fear.

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From h-costume-bounces@indra.com  Wed Feb 25 10:36:12 2004
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Portrait of Catherine Parr & spelling
Date: Wed, 25 Feb 2004 09:33:57 -0600
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 While literacy was spreading thanks to the printing press, writing was
definately optional. Spelling was usually what the word sounded like to the
writer which leaves us fascinating clues to varying dialects and even
perhaps, variations in pronounciation of the same word depending on its use
with different words. No spelling dictionairies left writers free to
experiment with spelling, their signatures, etc. It was an exciting time as
the English language was starting to come into its own, even if it was for
the English alone, and mostly the citizens educated in reading and writing.
We also have to remember that being illiterate was not a negative thing--as
most people were very literate in day-to-day living skills which were very
complex in thought and action.  Reading and writing were the preserves of
those who could afford to have others do work to leave them free to read and
write.

Years ago, in a history class, our professor had us read old copies of
letters aloud and suggested we pronounce the words as spelled. It does give
you a hint of the original author as standardized spelling and grammar often
removes.

Cindy Abel

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From h-costume-bounces@indra.com  Wed Feb 25 10:40:36 2004
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Subject: Re: [h-cost] Help decifering a source (Tudor)
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Hello.
As far as the Milan point lace gowns i can tell you that it must be a dress
with decorations made of needle laces.
At that time, bobbin lace was on its birdh, and needle laces were in
fashion. Needle lace is a lace made of one thread and a needle - a sewed
lace.

Bjarne


----- Original Message ----- 
From: "Manly Summerfield" <muirgheal@charter.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 3:56 PM
Subject: [h-cost] Help decifering a source (Tudor)


> Hello all, I need some help figuring out what a source is talking about.
> I came across this passage in my research into the Tournaments during the
> age of Henry VIII.
> It says that the ladies wore "Milan point lace gowns of white satin" and
> "Milan bonnets of gold with jewels" and that other ladies were dressed
"like
> Indian Women in black bonnets".
> This is approximately 1522.
> I have never heard of a lace gown or a Milan bonnet. Can someone please
help
> me figure out exactly what these garments are?
>
> Thank you so much
> Muirgheal
> Molann an obair an fear.
>
> _______________________________________________
> 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 Feb 25 10:43:36 2004
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Subject: Re: [h-cost] 1780s skirt supports
Date: Wed, 25 Feb 2004 16:43:02 +0100
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Dear Kendra.
You only need a single petticoat for this silhuette and a small bum roll
starting at the mid hip and going back, thickest at the center back. This is
the last trace of panner fashion dying out.
Wonderfull dress, are you going to make it?

Bjarne


----- Original Message ----- 
From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 2:50 AM
Subject: [h-cost] 1780s skirt supports


> Hi all,
>
> For those of you who have made 1780s robes a l'anglaise, what do you find
> works best for skirt supports?  I'm planning to make something along the
> lines of this dress:
>
http://www.metmuseum.org/collections/view1zoom.asp?dep=11&zoom=0&full=1&mark
> =2&item=67%2E55%2E1
>
> ...and I'm wondering how many under-petticoats I should make, and whether
I
> should make a bumroll (by which I mean a roll that goes around the back
AND
> hips) or just a bumpad (back only).
>
> Any suggestions appreciated!
>
> Thanks,
>
> Kendra
>
> _______________________________________________
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From h-costume-bounces@indra.com  Wed Feb 25 10:47:37 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Portrait of Catherine Parr
Date: Wed, 25 Feb 2004 16:45:18 +0100
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Hi
The link worked for me. Interresting to se Catherine Parr in english
costume, in the six wifes of Henry VIII she only wears funny duch costume.

Bjarne


----- Original Message ----- 
From: "Catalina Saravia Quicedo" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, February 24, 2004 3:54 PM
Subject: Re: [h-cost] Portrait of Catherine Parr


> Have they taken this link down?
>
> > Linda Walton wrote:
> >
> > > For those who are interested in this period, here
> > is a recently-recognised
> > > portrait of Catherine Parr, (the wife who survived
> > Henry VIII):-
> > >
> >
> http://www.bbc.co.uk/radio4/today/reports/arts/parr_20040224.shtml
> > > destined for the Queens' Chamber at Hever Castle.
> > >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> =====
> Seńora Catalina
> Aurum peccamenes multifariam texit
>
>
>
>
>
> ___________________________________________________________
> Yahoo! Messenger - Communicate instantly..."Ping"
> your friends today! Download Messenger Now
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Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 126
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>    4. Re: 1780s skirt supports (Joanna Hobbins)
>
> For the robe a I'anglaise a stiff foundation bodice is essential to obtain
> the correct shape and fit. The shape of the dress bodice is determined by
> that of the corset; in fact, the shape of the corset may be taken from the
> dress bodice pattern.

OK...All those who know 18th cent...

How do you achieve the proper stiff foundation bodice.  I have a good, stiff set of stays, but
the bodice of the dress is always floppy.  It don't have that wonderful STIFF look, even over
the stays.  My question is , how do you get it to look so smooth.  I've lined my regular day
dress with linnen but it still isn't enough.  My challenges are 1.  I am some what of a
dumpling. 2.  I want to be reasonably authentic.  I want to look like a real thing of the
middling sort, not  a costume.

This is OK for the everyday, slatternly, Hogarth's Gin Lane, I've just walked with the other
baggage from Charleston South Carolina,  look that I go for at most times, but the 64th is
going to England next year for an event, and I don't want to look like I've been dragged
backwards through the bushes at the trooping of the colours at the 250th anniversary of the
real regiment, when everyone and his brother will be there...and possibly a ROYAL in the form
of the honorary Col. of the regiment.

Help me please

Mia Dappert of HMS 64th of foot., in Charlotte NC

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Subject: Re: [h-cost] Portrait of Catherine Parr
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Some random musings to further muddy the waters:

- David Starkley, as evidenced by the amount of time he devotes to her 
in his book, really seems to like and respect Catherine of Aragon. But 
he is also quick to comment negatively on her weight/size as she aged. 
He made much of his early identification of a portrait of a young woman 
as being that of Catherine of Aragon, so in identifying this portrait as 
Catherine Parr he may be looking for a second coup.

- The headdress, while it is not what we are used to seeing from 
Holbein, is not impossible even for a rather later date than Starkey is 
claiming for this portrait. Holbein does depict a number of women in a 
gable headdress in his second period in England, though they tend to be 
of the "short" variety. Actually, this hood looks very similar in 
dimensions, though not in construction, to that worn by Margaret de la 
Pole. 
(http://www.geocities.com/anoria_j/Medieval_images/Margaret_de_la_Pole_CountessOfSalisbury.jpg)

- While royalty is depicted in ornate brocades and fur, non-royalty 
clothing (or, if this is Katherine, I suppose that would be 
pre-royalty!) is generally more simple--solids, maybe a jewel or necklace.

- A few dates: Born 1512. Father, Sir Thomas Parr, dies 1517. Mother, 
Maud Green, does not remarry. She is one of Catherine of Aragon's ladies 
(dates?). She provides good education for Katherine (and K's brother 
William) including humanist ideas. Maud dies in 1529. Katherine marries 
Borough in 1529. He dies shortly thereafter. She marries Lord Latimer in 
1533. He dies March 1543. She marries Henry July 1543. He dies Jan 1547. 
She marries Thomas Seymour, and dies in childbed, 1548.

Some articles on the Parr/Jane Grey portrait debate:
http://tudorhistory.org/news/portrait.html

Katherine was painted by several people. There is the famous debated one 
mentioned above, the "red dress" portrait and a Horenbout miniature as 
well as the Lambeth and now the Hever ones (which, though not identical, 
are certainly similar). Given her acknowledged intelligence and her 
political astuteness, I wonder if she cultivated portraiture as a form 
of iconography.

- Hope

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Date: Wed, 25 Feb 2004 10:13:34 -0800
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Subject: Re: [h-cost] Help decifering a source (Tudor)
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> Hello all, I need some help figuring out what a source is talking
> about. I came across this passage in my research into the Tournaments
> during the age of Henry VIII. It says that the ladies wore "Milan
> point lace gowns of white satin" and "Milan bonnets of gold with
> jewels" and that other ladies were dressed "like Indian Women in black
> bonnets". This is approximately 1522. I have never heard of a lace
> gown or a Milan bonnet. Can someone please help me figure out exactly
> what these garments are?

A Milan point lace gown would be a gown decorated with Milan point 
lace (a type of needle lace.)

The Milan bonnet is a type of hat which is sort of like a beret with 
a brim which turns up.

Where did you find the passage? Is it a modern description of a 
picture someone saw or is it a quote from someone who was there 
(actually written by someone in the same time period.) If I could 
read it myself in the place where you found it, I might be able to 
give you more information about it. (Sometimes it's the context which 
is the most important.)

As to "dressed like Indian Women", that's a hard one. It's almost too 
vague to be helpful.

Kat
<kat@redtrollforge.com>


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Do you know the broadcast date? Thanks.

- Hope

Kendra Van Cleave wrote:
> You can listen to the actual interview on the BBC's site here:
> http://www.bbc.co.uk/radio4/today/listenagain/ (program 0822)


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Subject: [h-cost] Vogue 2239
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Hi,
I know this is a little OT, but I'm looking for Vintage Vogue 2239 pattern,
in small sizes (10 or 12). If you have one you're willing to part with, if
you know a place where I can buy it, or even if you're willing to provide a
copy of pattern+instructions (I'd pay for it, of course), I'd be eternally
grateful.
Yes, I checked eBay. It'll probably show up one of those days, but it hasn't
been there the past few days.
Thank you.

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Audrey, could you please describe this (year and style) so those of us with
a stash of patterns can help you? I bought most of them (some by accident
twice), often even out of my size range because I knew someone, sometime
would need them. My list is at home, but I could check tonight and let you
know tomorrow.

LynnD

On 2/25/04 10:56 AM, "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
wrote:

> Hi,
> I know this is a little OT, but I'm looking for Vintage Vogue 2239 pattern,
> in small sizes (10 or 12). If you have one you're willing to part with, if
> you know a place where I can buy it, or even if you're willing to provide a
> copy of pattern+instructions (I'd pay for it, of course), I'd be eternally
> grateful.
> Yes, I checked eBay. It'll probably show up one of those days, but it hasn't
> been there the past few days.
> Thank you.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Wed, 25 Feb 2004 10:50:54 -0800
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> I thought she'd survived the birth by several weeks, but yes, I was
> wallowing a bit in understatement, even so.  :-)

Jane lived longer afterward than Katherine Parr. Kat Parr went into 
labor on August 30 and died on September 3. So, it was only a few 
days (during which she was febrile and frequently in a paranoid 
delerium. It sounds like a nasty way to go.)

> > It's very difficult to precisely date a portrait from this time
> > period using clothing references because there was so much overlap
> > in the styles which were being worn, especially from 1520-1540. 
> 
> True.  In addition,  weren't some paintings later copies of earlier
> ones that, when originally done, did in fact show a fashionable style?

Definitely. This is especially true in paintings, for example of 
Elizabeth I. There is a book specifically about this written by Roy 
Strong. 

> The fact that the clothing shown in the portrait  is in a style
> fashionable in the late 1520s, and Catherine (or Katherine or
> Kateryne) Parr was an appropriate age to be wearing such clothes in
> the late 1520s, would not be sufficient to prove that the painting is
> of Catherine Parr, since the same would be true of many other
> noblewomen of Henry VIII's court (including, for that matter,
> Catherine of Aragon).  So Starkey rightly looks to other
> evidence--namely, the pearls, which he claims are clearly the ones
> that Catherine Parr was given. (Since the image of the painting the
> BBC ran did not show the pearls very clearly, I have to assume that
> they were, somehow, visually distinctive.)

Having seen the inventory descriptions, they aren't all that 
"descriptive." I have to keep reminding myself that they were written 
by men who were just there to make sure that what belonged to the 
King was there. These men may not have had any fashion sense at all. 
(I can just see them saying "yep, that necklace with the 100 pearls 
seems to be in its box." Just watch or listen to store people 
inventorying and you'll get what I'm imagining.)

It's not like they wrote things like "a pearl necklace of X # of 
pearls ranging in size from Y to Z in a graduated fashion." They are 
more like: "A lace for the neck conteyning C perles onelie" which is 
item 2690 in Henry's inventory. How many other women in other 
families might have had a necklace of 100 pearls? That's not really 
all that descriptive. (Some of the enameled chains, on the otherhand, 
are a bit more distinctive: "Item a Cheyne conteyning xxvij peces of 
golde in euery of them ij litle Turkeys and xxvij litle perles.")

> > (By the way, most of the "Catherines" in the early 16th C spelled
> > their name "Kateryne" when they were signing. Later people tended to
> > change them to the now more familiar "Catherine" or "Katherine.")
> 
> Spelling in general was not real stable in the early 16th c., so I did
> not concern myself with which variations of the name I used in
> answering these posts.  :-)

I just find it interesting that history never uses the names by which 
the Queens actually signed their names. In almost every history book 
I've ever seen, the Katherines of Henry VIII's life were all spelled 
either Katherine or Catherine, neither of which would have been used 
in their time period. ;) (And these queens pretty consistently 
spelled their names the same way each time, unlike Shakespeare who 
seemed to do different spellings just for fun, yet everyone always 
uses him as an example of how names in period were always spelled in 
many ways by the same person.)

Kat
<kat@redtrollforge.com>


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- A few dates: Born 1512. Father, Sir Thomas Parr, dies 1517. Mother, 
Maud Green, does not remarry. She is one of Catherine of Aragon's
ladies 
(dates?). She provides good education for Katherine (and K's brother 
William) including humanist ideas. Maud dies in 1529. Katherine marries

Borough in 1529. He dies shortly thereafter. She marries Lord Latimer
in 
1533. He dies March 1543. She marries Henry July 1543. He dies Jan
1547. 
She marries Thomas Seymour, and dies in childbed, 1548.

<snip>
- Hope
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
I have to agree that this new portrait just doesn't look 'right' for
Catherine Parr.  If the pearls are one of the identifying marks, perhaps
it is of Catherine Parr's mother? 

Catherine
(that's my spelling and I'm sticking to it :) ) 


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Date: Wed, 25 Feb 2004 11:33:25 -0800
Subject: Re: [h-cost] Vogue 2239
From: Lynn Downward <LDownward@chori.org>
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That's (of course) one I didn't buy because it would look so dreadful on me
and there are so many modern dress patterns that look the same. I'm actually
making something very similar for my daughter's prom dress from a black silk
satin with white. I'm maaking the skirt and bodice separate and adding
godots to the skirt back (thanks to the current Threads magazine) so it
hangs large in the back and straight in the front (my daughter's terms).

Sorry I can't help.

LynnD

On 2/25/04 11:21 AM, "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
wrote:

> I've just found out that, even though the Vintage patterns are not in my
> local fabric stores' catalogues, the pattern is still in the online catalog.
> If I can't find it anywhere else, I can still order online (even if it's
> really expensive). It's a major relief :-)
> 
> Here's the address, so you can take a look
> http://tinyurl.com/3xnyy
> 
> The long address
> http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.2239=x&TI='
> 2239'&pageNum=1&M=&UK=30825611
> 
> It's 1950 evening dress.
> It's described as MISSES' DRESS, BELT & SASH
>     Dress, floor length, has bias band, close-fitting, boned, lined
> bodice, inside belt, flared skirt, back zipper, belt and double-layered
> sash. Purchased petticoat. B: contrast bodice/band.
> 
> 
>> Audrey, could you please describe this (year and style)
> 
>>> Hi,
>>> I know this is a little OT, but I'm looking for Vintage Vogue 2239
> pattern,
>>> in small sizes (10 or 12). If you have one you're willing to part with,
> if
>>> you know a place where I can buy it, or even if you're willing to
> provide a
>>> copy of pattern+instructions (I'd pay for it, of course), I'd be
> eternally
>>> grateful.
>>> Yes, I checked eBay. It'll probably show up one of those days, but it
> hasn't
>>> been there the past few days.
>>> Thank you.
> _______________________________________________
> 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] Vogue 2239
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I've just found out that, even though the Vintage patterns are not in my
local fabric stores' catalogues, the pattern is still in the online catalog.
If I can't find it anywhere else, I can still order online (even if it's
really expensive). It's a major relief :-)

Here's the address, so you can take a look
http://tinyurl.com/3xnyy

The long address
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.2239=x&TI='2239'&pageNum=1&M=&UK=30825611

It's 1950 evening dress.
It's described as MISSES' DRESS, BELT & SASH
      Dress, floor length, has bias band, close-fitting, boned, lined
bodice, inside belt, flared skirt, back zipper, belt and double-layered
sash. Purchased petticoat. B: contrast bodice/band.


> Audrey, could you please describe this (year and style)

> > Hi,
> > I know this is a little OT, but I'm looking for Vintage Vogue 2239
pattern,
> > in small sizes (10 or 12). If you have one you're willing to part with,
if
> > you know a place where I can buy it, or even if you're willing to
provide a
> > copy of pattern+instructions (I'd pay for it, of course), I'd be
eternally
> > grateful.
> > Yes, I checked eBay. It'll probably show up one of those days, but it
hasn't
> > been there the past few days.
> > Thank you.
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Help decifering a source (Tudor)
Date: Wed, 25 Feb 2004 14:47:29 -0500
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I read the quote in Alison Weir's Henry VIII The King and his Court. I came
across an almost identical description (This is from the Chateu Vert pagaent
given in honor of the betrothal of Princess Mary and Emperor Charles) in the
fiction book, The Other Boleyn - which Im reading in the carpool line at
school. Weir sites her source as "Letters and Papers, Foreign and Domestic,
of the Reign of Henry VIII, 1509-1603. Im in the process of trying to track
an additional source.

Muirgheal
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 1:13 PM
Subject: Re: [h-cost] Help decifering a source (Tudor)


>
> > Hello all, I need some help figuring out what a source is talking
> > about. I came across this passage in my research into the Tournaments
> > during the age of Henry VIII. It says that the ladies wore "Milan
> > point lace gowns of white satin" and "Milan bonnets of gold with
> > jewels" and that other ladies were dressed "like Indian Women in black
> > bonnets". This is approximately 1522. I have never heard of a lace
> > gown or a Milan bonnet. Can someone please help me figure out exactly
> > what these garments are?
>
> A Milan point lace gown would be a gown decorated with Milan point
> lace (a type of needle lace.)
>
> The Milan bonnet is a type of hat which is sort of like a beret with
> a brim which turns up.
>
> Where did you find the passage? Is it a modern description of a
> picture someone saw or is it a quote from someone who was there
> (actually written by someone in the same time period.) If I could
> read it myself in the place where you found it, I might be able to
> give you more information about it. (Sometimes it's the context which
> is the most important.)
>
> As to "dressed like Indian Women", that's a hard one. It's almost too
> vague to be helpful.
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-bounces@indra.com  Wed Feb 25 15:32:48 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Wed, 25 Feb 2004 21:29:26 +0100
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Subject: [h-cost] bodice smothness
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How do you achieve the proper stiff foundation bodice.  I have a good, stiff set of stays, but
the bodice of the dress is always floppy.  It 

What type of dress is it you are talking about. Is it a robe francaise with back pleats?
When you drape your bodice over the stays, you should keep the fabric tight and smooth all over. If your bodice always is floppy as you call it, then you have made it two big! 
When you construkt the bodice over your stays, then you shall stretch the fabric smooth all over and make the bodice assembley. Then sew together the pieces and try again to fit it over your stays. Then your bodice gets errect, smooth and beautifull.

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From h-costume-bounces@indra.com  Wed Feb 25 15:44:01 2004
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	Wed, 25 Feb 2004 12:33:38 PST
Date: Wed, 25 Feb 2004 12:33:38 -0800 (PST)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Semi-OT: Pattern Filing
To: Historical Costume <h-costume@indra.com>
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I keep patterns in 9" x 12" manila envelopes, which
are then stored in file cabinets that I picked up used
for really cheap. (Tacoma and Seattle got hit badly by
the "dot com bomb" a while back)

I put the original pattern envelope in sheet
protectors and have several 3 ring binders sorted by
clothing type.  The file cabinets live in the
basement, along with all of the shelving holding the
fabric hoard not currently being worked on, 2 file
cabinets holding my scraps, 1 more holding my yarns
and magazines and clippings.

I just picked up hanging files to sort out all of my
piles of research-so that those may be easier to
access.  Now I simply need to get them done before
Friday and the stepsons come over and need that bed to
sleep on! (oy, and this weekend's the sewing expo
too!)

Angharad / Jonnalyhn Wolfcat



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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Help decifering a source (Tudor)
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"Indian women"...dare I ask East or West?
Kathleen
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 1:13 PM
Subject: Re: [h-cost] Help decifering a source (Tudor)


> 
> > Hello all, I need some help figuring out what a source is talking
> > about. I came across this passage in my research into the Tournaments
> > during the age of Henry VIII. It says that the ladies wore "Milan
> > point lace gowns of white satin" and "Milan bonnets of gold with
> > jewels" and that other ladies were dressed "like Indian Women in black
> > bonnets". This is approximately 1522. I have never heard of a lace
> > gown or a Milan bonnet. Can someone please help me figure out exactly
> > what these garments are?
> 
> A Milan point lace gown would be a gown decorated with Milan point 
> lace (a type of needle lace.)
> 
> The Milan bonnet is a type of hat which is sort of like a beret with 
> a brim which turns up.
> 
> Where did you find the passage? Is it a modern description of a 
> picture someone saw or is it a quote from someone who was there 
> (actually written by someone in the same time period.) If I could 
> read it myself in the place where you found it, I might be able to 
> give you more information about it. (Sometimes it's the context which 
> is the most important.)
> 
> As to "dressed like Indian Women", that's a hard one. It's almost too 
> vague to be helpful.
> 
> 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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Considering this was 1522 . .it could have been either. Id assume they are
talking "American" Indians as these ladies were depicted as being "evil"
----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 4:07 PM
Subject: Re: [h-cost] Help decifering a source (Tudor)


> "Indian women"...dare I ask East or West?
> Kathleen
> ----- Original Message ----- 
> From: <kat@grendal.rain.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, February 25, 2004 1:13 PM
> Subject: Re: [h-cost] Help decifering a source (Tudor)
>
>
> >
> > > Hello all, I need some help figuring out what a source is talking
> > > about. I came across this passage in my research into the Tournaments
> > > during the age of Henry VIII. It says that the ladies wore "Milan
> > > point lace gowns of white satin" and "Milan bonnets of gold with
> > > jewels" and that other ladies were dressed "like Indian Women in black
> > > bonnets". This is approximately 1522. I have never heard of a lace
> > > gown or a Milan bonnet. Can someone please help me figure out exactly
> > > what these garments are?
> >
> > A Milan point lace gown would be a gown decorated with Milan point
> > lace (a type of needle lace.)
> >
> > The Milan bonnet is a type of hat which is sort of like a beret with
> > a brim which turns up.
> >
> > Where did you find the passage? Is it a modern description of a
> > picture someone saw or is it a quote from someone who was there
> > (actually written by someone in the same time period.) If I could
> > read it myself in the place where you found it, I might be able to
> > give you more information about it. (Sometimes it's the context which
> > is the most important.)
> >
> > As to "dressed like Indian Women", that's a hard one. It's almost too
> > vague to be helpful.
> >
> > Kat
> > <kat@redtrollforge.com>
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: Re: [h-cost] bodice smothness
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In a message dated 2/25/2004 2:30:09 PM Central Standard Time, 
drewscph@post12.tele.dk writes:
Then sew together the pieces and try again to fit it over your stays. Then 
your bodice gets errect, smooth and beautifull.

Bjarne


This is very true.  In addendum, I just wanted to add:  There were various 
methods used in various periods to stiffenup bodice fabrics like silk.  Most of 
these methods are not something that we would want or be able to duplicate now 
(stiffening with glue or minerals, for example).    If you just want to add a 
bit of body to a fabric that drapes in a lovely manner for the skirts but 
just seems too thin or *floppy* in the bodice, try a featherweight fusible 
interfacing.  The featherweight is enough to just add a little body to a thin or 
fine fabric, without being detectible once the garment is made.

-Tiffany
Reflections*of*Worth
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Date: Wed, 25 Feb 2004 09:28:54 -0800
To: Historical Costume <h-costume@indra.com>
From: Claudine <claudine_on_the_net@yahoo.com>
Subject: Re: [h-cost] how to finish a ruff edge?
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Hi Bridgette,

That's perfect! I understand now what you mean. Thanks also for finding 
this page, I'm collecting links to pages with instructions for stitches.

I didn't know openwork was done in the late 1500s. I thought the 
decorations on collars and cuffs were just variations on lace. I'll file 
that under "new thing I learned this week."  :)

Thanks everyone for all the help!



Claudine

At 06:28 AM 2/24/2004, you wrote:

>Hi there...  sorry for the lousy ASCII art...  didn't mean to confuse 
>things.  I'll try my best to explain ...
>         Something you might want to look for is a reference to 
> "hemstitch" or "Venetian hemstitch" or "Open hemstitch"
>
>ok...  I'll give this a whirl...
>
>(20 minutes later...   )  ok that didn't work...   try this 
>http://www.embroideryden.com.au/embroidery_stitch_guide.htm  scroll down 
>to "hemstitch"
>
>best of luck.
>Bridgette - who just can't seem to describe this stitch  ; >
>
>
>
>
>>I like the idea of a turned hem with a bit of
>>openwork, but I don't understand how I would
>>accomplish that. When I do a hem I end up with little
>>stitches on the outside of the garment that are
>>basically perpendicular the the hem edge; I don't see
>>how that converts to openwork. Bridgette, from your
>>ASCII drawing, are you saying that I should throw in a
>>horizontal stitch between the normal, slanted heming
>>stitches? Would that be enough to create holes in the
>>fabric, or should I pull threads out parallel to the
>>hem? Sorry for all the questions, but I've only ever
>>read about openwork and have never done it.
>
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Subject: Re: [h-cost] Re: Portrait of Catherine Parr
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 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> I have to agree that this new portrait just doesn't look 'right' for
> Catherine Parr.  If the pearls are one of the identifying marks, 
> perhaps
> it is of Catherine Parr's mother? 
> 
> Catherine
> (that's my spelling and I'm sticking to it :) ) 

I wondered about that too. The fashion looks too old to my untrained
eyes. Gabled headdresses that late?

Arlys

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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Help decifering a source (Tudor)
Date: Wed, 25 Feb 2004 16:39:02 -0600
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>
> >
> > > Hello all, I need some help figuring out what a source is talking
> > > about. I came across this passage in my research into the Tournaments
> > > during the age of Henry VIII. It says that the ladies wore "Milan
> > > point lace gowns of white satin" and "Milan bonnets of gold with
> > > jewels"

My guess is that the Milan point lace gowns and Milan bonnets refers to
Italian-style as worn in Milan(or English interpretation of Milan fashions),
Italy.  I would suggest finding a book on the history of lace as there is
still a lot of controversy as to when lace became used as we know it.
Garments described as all or in part as lace or laced could also be
interpreted as garments with lacing fastening and/or trim, rather than
decorative lace as we know it.  The lace could also be more of what we know
of as a braid trim--see early neck ruffs for examples.

 and that other ladies were dressed "like Indian Women in black
> > > bonnets".

As this is 1522, I would suspect that this more likely refers to women of
India and/or Asia although of course, it could refer to those of Spanish and
Portuguese-occupied America as imagined by those creating the look of the
masque--Master of the Revels and his assistants or just the court ladies
creating their costumes.  The Indian bonnets certainly doesn't refer to
North American Indian war bonnets, but could have been either a filtered
down fashion from India/Asia which was seen by Western Europe as far away
exotic lands that were the source of most spicies, silks, perfumes and other
trade goods the Western European wealthy hankered after. The bonnets could
have been purely made-up headwear for a fantasy effect.

Remember, this was a court masque, where the known historic and present was
mixed freely with fantasy and imagination to produce a rich otherworld that
only the priviledged could inhabit. See information on the court masques
created under James I by Inigo Jones for examples of such fantastic masque
costume at a later date. They bear little actual resemblance to what they
refer to, whether St. George and the Dragon or men and women of distant
lands.  And there was always interpretation of supposed animals and flora
and fauna of distant places when the real thing wasn't available for
display.

Cindy Abel



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Subject: RE: [h-cost] Help decifering a source (Tudor)
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Just a warning about the Letters and  Papers - I found out after trying to
ILL it that it is a 21 volume set.  Assuming we are talking about the same
ones here.  Portland State University has most of the Volumes and University
of Oregon has them all.

Regina Romsey

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Manly Summerfield
> Sent: Wednesday, February 25, 2004 11:47 AM
> To: Historical Costume
> Subject: Re: [h-cost] Help deciphering a source (Tudor)
>
>
> I read the quote in Alison Weir's Henry VIII The King and his
> Court. I came
> across an almost identical description (This is from the Chateu
> Vert pagaent
> given in honor of the betrothal of Princess Mary and Emperor
> Charles) in the
> fiction book, The Other Boleyn - which Im reading in the carpool line at
> school. Weir sites her source as "Letters and Papers, Foreign and
> Domestic,
> of the Reign of Henry VIII, 1509-1603. Im in the process of
> trying to track
> an additional source.
>
>


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From h-costume-bounces@indra.com  Wed Feb 25 18:25:14 2004
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From: handcock@rad.ess.washington.edu
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] who is here/regular clothes
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> On Mon, 23 Feb 2004 AnnBWass@aol.com wrote:
> > handcock@rad.ess.washington.edu writes:
> > but now days I only have time for costuming research and
> > sewing everyday clothes.


> I really don't think sewing daywear is economical anymore, especially when 
> one figures in the cost of one's labor.

Hi Ann,

While you are absolutely correct about the cost of sewing ordinary clothes
compared to buying them, what I can't get, at even medium-high cost, are
clothes that fit. I don't have a standard size, so I either have to wear
badly-fitting clothes, or make them myself. I am not even that big, but I
have had snooty 16 y-olds look me up and down in places like Banana
Republic, and say that they don't sell 'MY' size in-store.

The items that I make tend to me the ones that are hard to buy ready-made
and well-fitting, like pants or Oscar-night-style evening gowns. And these
tend to have 18th century silhouettes and fully boned under-structures ;-)
Things like simple tops, underwear etc, I just purchase.

The other aspect is style, since finding funky/interesting clothes that
also fit is even more difficult. I subscribe to the idea that anyone can
look wonderful if they only dress in well-fitting clothes which accent
their positives.

This is an interesting topic though, since I think that many people here 
face this issue. 

Rebecca


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Subject: [h-cost] New Hans Holbein book upcoming
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I just preordered a new book at Amazon.com

Entitled "Hans Holbein the Younger: Painter at the Court of Henry VIII" it
highlights the work of Holbein during his English sojourn. In hardcover, it
promises to be generously illustrated and the cover on the website is the
portrait of the year old future Edward VI by Holbein. Choose Super Saver
Shipping and it can be yours for $31.50, rather than $45 +ship. Appox ship
date is Apr 6th(my birthday--so this is my Happy Birthday to Me present).

With the current discussion of Katherine Parr on this list, this book may be
of interest to some.

Cindy Abel

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In a message dated 2/25/2004 5:37:26 PM Central Standard Time, 
brujne@creighton.edu writes:
With the current discussion of Katherine Parr on this list, this book may be
of interest to some.

Cindy Abel


Thanks so much for sharing that, I'll definitely be pre-ordering that one!!!

-Tiffany
Reflections*of*Worth
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well now I'm confused, this hemstich illustration is one that would leave fringed edges.  I've tried a narrow hem with a blanket stitch over the top.  This way the edge is finished.  I've interpreted some portraits with blackworked sleeves has having this type of finish.

Lisa Sinervo



---------- Original Message ----------------------------------
From: Claudine <claudine_on_the_net@yahoo.com>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Wed, 25 Feb 2004 09:28:54 -0800

>Hi Bridgette,
>
>That's perfect! I understand now what you mean. Thanks also for finding 
>this page, I'm collecting links to pages with instructions for stitches.
>
>I didn't know openwork was done in the late 1500s. I thought the 
>decorations on collars and cuffs were just variations on lace. I'll file 
>that under "new thing I learned this week."  :)
>
>Thanks everyone for all the help!
>
>
>
>Claudine
>
>At 06:28 AM 2/24/2004, you wrote:
>
>>Hi there...  sorry for the lousy ASCII art...  didn't mean to confuse 
>>things.  I'll try my best to explain ...
>>         Something you might want to look for is a reference to 
>> "hemstitch" or "Venetian hemstitch" or "Open hemstitch"
>>
>>ok...  I'll give this a whirl...
>>
>>(20 minutes later...   )  ok that didn't work...   try this 
>>http://www.embroideryden.com.au/embroidery_stitch_guide.htm  scroll down 
>>to "hemstitch"
>>
>>best of luck.
>>Bridgette - who just can't seem to describe this stitch  ; >
>>
>>
>>
>>
>>>I like the idea of a turned hem with a bit of
>>>openwork, but I don't understand how I would
>>>accomplish that. When I do a hem I end up with little
>>>stitches on the outside of the garment that are
>>>basically perpendicular the the hem edge; I don't see
>>>how that converts to openwork. Bridgette, from your
>>>ASCII drawing, are you saying that I should throw in a
>>>horizontal stitch between the normal, slanted heming
>>>stitches? Would that be enough to create holes in the
>>>fabric, or should I pull threads out parallel to the
>>>hem? Sorry for all the questions, but I've only ever
>>>read about openwork and have never done it.
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
>_______________________________________________
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Cindy wrote:
Garments described as all or in part as lace or laced could also be
interpreted as garments with lacing fastening and/or trim, rather than
decorative lace as we know it.  The lace could also be more of what we know
of as a braid trim--see early neck ruffs for examples.

I have to second that, as a narrow-wares weaver.  The instructions for
finger-looped braids from Harleian 2320- "Directions for Making Many
Sorts of Laces" (15th c. English) refers to all the braids as laces, of 
various patterns and thicknesses.  (The number of looped threads used 
were called bowes, hence "a lace of five bowes" or "a lace of eight 
bowes", etc.)
                 -Helen/Aidan


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Subject: [h-cost] Re: bodice stiffening
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At 3:45 PM -0700 2/25/04, h-costume-request@indra.com wrote:
>these methods are not something that we would want or be able to duplicate now
>(stiffening with glue or minerals, for example).    If you just want to add a

Ya know, you could try Elmer's School glue--washes out with 
water/soap, stiffens like a charm (makes *excellent* warp sizing for 
a delicate, fine warp--7 yards of fine single handspun--NO breaks!!!) 
and then leaves nicely when asked....
Minerals, I have no clue...
Ta
Carol, who does low life 18 cent servant scum in hand me downs <G> 
One day I'll have the courage to cut into the good cloth....
-- 
Creative Clutter is Better Than Idle Neatness!
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Subject: Re: [h-cost] Portrait of Catherine Parr
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Sorry -- it was yesterday, so Feb. 24 2004.

- Kendra
----- Original Message ----- 
From: "Hope Greenberg" <hope.greenberg@uvm.edu>
Subject: Re: [h-cost] Portrait of Catherine Parr


> Do you know the broadcast date? Thanks.
> 
> - Hope
> 
> Kendra Van Cleave wrote:
> > You can listen to the actual interview on the BBC's site here:
> > http://www.bbc.co.uk/radio4/today/listenagain/ (program 0822)

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Subject: Re: [h-cost] Help decifering a source (Tudor)
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Some good points here I think...especially the Inigo Jones comment re the
fantasy connection.  I have a vivid image of a 'feather costume'... And the
Asian influences in head gear were certainly not London or Paris!
kATHLEEN Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 5:39 PM
Subject: RE: [h-cost] Help decifering a source (Tudor)


>
>
>
> >
> > >
> > > > Hello all, I need some help figuring out what a source is talking
> > > > about. I came across this passage in my research into the
Tournaments
> > > > during the age of Henry VIII. It says that the ladies wore "Milan
> > > > point lace gowns of white satin" and "Milan bonnets of gold with
> > > > jewels"
>
> My guess is that the Milan point lace gowns and Milan bonnets refers to
> Italian-style as worn in Milan(or English interpretation of Milan
fashions),
> Italy.  I would suggest finding a book on the history of lace as there is
> still a lot of controversy as to when lace became used as we know it.
> Garments described as all or in part as lace or laced could also be
> interpreted as garments with lacing fastening and/or trim, rather than
> decorative lace as we know it.  The lace could also be more of what we
know
> of as a braid trim--see early neck ruffs for examples.
>
>  and that other ladies were dressed "like Indian Women in black
> > > > bonnets".
>
> As this is 1522, I would suspect that this more likely refers to women of
> India and/or Asia although of course, it could refer to those of Spanish
and
> Portuguese-occupied America as imagined by those creating the look of the
> masque--Master of the Revels and his assistants or just the court ladies
> creating their costumes.  The Indian bonnets certainly doesn't refer to
> North American Indian war bonnets, but could have been either a filtered
> down fashion from India/Asia which was seen by Western Europe as far away
> exotic lands that were the source of most spicies, silks, perfumes and
other
> trade goods the Western European wealthy hankered after. The bonnets could
> have been purely made-up headwear for a fantasy effect.
>
> Remember, this was a court masque, where the known historic and present
was
> mixed freely with fantasy and imagination to produce a rich otherworld
that
> only the priviledged could inhabit. See information on the court masques
> created under James I by Inigo Jones for examples of such fantastic masque
> costume at a later date. They bear little actual resemblance to what they
> refer to, whether St. George and the Dragon or men and women of distant
> lands.  And there was always interpretation of supposed animals and flora
> and fauna of distant places when the real thing wasn't available for
> display.
>
> Cindy Abel
>
>
>
> _______________________________________________
> 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] Portrait of Catherine Parr
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On Wednesday 25 February 2004 01:50 pm, kat@grendal.rain.com wrote:
> > I thought she'd survived the birth by several weeks, but yes, I was
> > wallowing a bit in understatement, even so.  :-)
>
> Jane lived longer afterward than Katherine Parr. Kat Parr went into
> labor on August 30 and died on September 3. So, it was only a few
> days (during which she was febrile and frequently in a paranoid
> delerium. It sounds like a nasty way to go.)

Yes it does.  I probably knew this, once, but it's been a long time since my 
initial craze for the life and times of Henry VIII and his contemporaries.



> > > It's very difficult to precisely date a portrait from this time
> > > period using clothing references because there was so much overlap
> > > in the styles which were being worn, especially from 1520-1540.
> >
> > True.  In addition,  weren't some paintings later copies of earlier
> > ones that, when originally done, did in fact show a fashionable style?
>
> Definitely. This is especially true in paintings, for example of
> Elizabeth I. There is a book specifically about this written by Roy
> Strong.

I believe it.  
>
> > The fact that the clothing shown in the portrait  is in a style
> > fashionable in the late 1520s, and Catherine (or Katherine or
> > Kateryne) Parr was an appropriate age to be wearing such clothes in
> > the late 1520s, would not be sufficient to prove that the painting is
> > of Catherine Parr, since the same would be true of many other
> > noblewomen of Henry VIII's court (including, for that matter,
> > Catherine of Aragon).  So Starkey rightly looks to other
> > evidence--namely, the pearls, which he claims are clearly the ones
> > that Catherine Parr was given. (Since the image of the painting the
> > BBC ran did not show the pearls very clearly, I have to assume that
> > they were, somehow, visually distinctive.)
>
> Having seen the inventory descriptions, they aren't all that
> "descriptive." I have to keep reminding myself that they were written
> by men who were just there to make sure that what belonged to the
> King was there. These men may not have had any fashion sense at all.
> (I can just see them saying "yep, that necklace with the 100 pearls
> seems to be in its box." Just watch or listen to store people
> inventorying and you'll get what I'm imagining.)

Maybe he wasn't working off of an inventory description.  I suppose it's 
possible that the necklace in question still exists, and can be seen and 
visually compared to what the lady in the portrait wears.  Though I'm still 
skeptical--the necklace I see appears to be a simple strand; how is it 
possible to say that it shows Catherine's pearl necklace?


>
> It's not like they wrote things like "a pearl necklace of X # of
> pearls ranging in size from Y to Z in a graduated fashion." They are
> more like: "A lace for the neck conteyning C perles onelie" which is
> item 2690 in Henry's inventory. How many other women in other
> families might have had a necklace of 100 pearls? That's not really
> all that descriptive. (Some of the enameled chains, on the otherhand,
> are a bit more distinctive: "Item a Cheyne conteyning xxvij peces of
> golde in euery of them ij litle Turkeys and xxvij litle perles.")

Now that kind of chain is what I call distinctive.  :-)

>
> > > (By the way, most of the "Catherines" in the early 16th C spelled
> > > their name "Kateryne" when they were signing. Later people tended to
> > > change them to the now more familiar "Catherine" or "Katherine.")
> >
> > Spelling in general was not real stable in the early 16th c., so I did
> > not concern myself with which variations of the name I used in
> > answering these posts.  :-)
>
> I just find it interesting that history never uses the names by which
> the Queens actually signed their names.

It would be a kindness in many cases, considering how many Catherines of note 
there were in that time period.


>In almost every history book
> I've ever seen, the Katherines of Henry VIII's life were all spelled
> either Katherine or Catherine, neither of which would have been used
> in their time period. ;) (And these queens pretty consistently
> spelled their names the same way each time, unlike Shakespeare who
> seemed to do different spellings just for fun, yet everyone always
> uses him as an example of how names in period were always spelled in
> many ways by the same person.)

Interesting.  I did not know the ladies in question were that consistent.  
Thank you.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: [h-cost] Portrait of Catherine Parr
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On Wednesday 25 February 2004 09:51 am, Tiffsewsstuff@aol.com wrote:
> In a message dated 2/25/2004 1:37:43 AM Central Standard Time,
> cathy@thyrsus.com writes:
> Spelling in general was not real stable in the early 16th c.,
>
>
> There goes that talent for understatement again LOL


:-)  :-)  :-)  :-)  No comment.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: [h-cost] Fw: [18cWoman] 18th Century Clothing Exhibit at the Met
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Sounds exciting!

- Kendra
----- Original Message ----- 
From: "K.Hewitt" <vive_le_roi1789@yahoo.com>
To: <18cWoman@yahoogroups.com>
Sent: Wednesday, February 25, 2004 11:46 AM
Subject: [18cWoman] 18th Century Clothing Exhibit at the Met


> Dangerous Liaisons: Fashion and Furniture in the
> 18th Century
> 
> April 29, 2004-August 8, 2004
> The European Sculpture and Decorative Arts
> Galleries
> 
>  Dangerous Liaisons focuses on dress and its
> aesthetic interplay with art, furniture, and the
> broader decorative arts between 1750 and 1789.  
> 
>  Presented in the dramatic setting of The
> Wrightsman Galleries, the Museum's French period
> rooms, the exhibition will explore the dressed
> body's spatial negotiation of the 18th-century
> interior as a choreography of seduction and
> erotic play. The coquettish Polonaise dress with
> its hem raised to reveal the ankle will be
> juxtaposed with a side table that transforms into
> a dressing table through mechanisms similar to
> the gown's hidden ties. The arch of the foot
> introduced by shoes with a Louis-style heel will
> be seen with the scrolling legs of tables and
> chairs from the period shod in ormolu sabots.
> Lavish banyans, the "undress" of 18th-century
> rakes, and fans, an accessory that could be
> wielded with both decorous and flirtatious
> intent, will be presented as the favored modes of
> beguilement of the 18th-century man about town
> and his femme du monde counterpart.
> 
> Accompanied by a publication

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Help decifering a source (Tudor)
Date: Wed, 25 Feb 2004 20:51:06 -0600
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I do not understand how the reference is easily identifiable as American
Indian. How are the "indian dressed ladies depicting "evil"?
I would more likely think that the "Indian" is more in reference to India as
there would be more of an influence on clothing from India than from the
Americas.
De


<Considering this was 1522 . .it could have been either. Id assume they are
talking "American" Indians as these ladies were depicted as being "evil"
----- Original Message -----
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 4:07 PM
Subject: Re: [h-cost] Help decifering a source (Tudor)


> "Indian women"...dare I ask East or West?
> Kathleen
> ----- Original Message -----
> From: <kat@grendal.rain.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, February 25, 2004 1:13 PM
> Subject: Re: [h-cost] Help decifering a source (Tudor)
>
>
> >
> > > Hello all, I need some help figuring out what a source is talking
> > > about. I came across this passage in my research into the Tournaments
> > > during the age of Henry VIII. It says that the ladies wore "Milan
> > > point lace gowns of white satin" and "Milan bonnets of gold with
> > > jewels" and that other ladies were dressed "like Indian Women in black
> > > bonnets". This is approximately 1522. I have never heard of a lace
> > > gown or a Milan bonnet. Can someone please help me figure out exactly
> > > what these garments are?
> >
> > A Milan point lace gown would be a gown decorated with Milan point
> > lace (a type of needle lace.)
> >
> > The Milan bonnet is a type of hat which is sort of like a beret with
> > a brim which turns up.
> >
> > Where did you find the passage? Is it a modern description of a
> > picture someone saw or is it a quote from someone who was there
> > (actually written by someone in the same time period.) If I could
> > read it myself in the place where you found it, I might be able to
> > give you more information about it. (Sometimes it's the context which
> > is the most important.)
> >
> > As to "dressed like Indian Women", that's a hard one. It's almost too
> > vague to be helpful.
> >
> > Kat
> > <kat@redtrollforge.com>
> >
> >
> > _______________________________________________
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> >
> >
> _______________________________________________
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Subject: Re: [h-cost] 1780s skirt supports
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----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Subject: Re: [h-cost] 1780s skirt supports


> Dear Kendra.
> You only need a single petticoat for this silhuette and a small bum roll
> starting at the mid hip and going back, thickest at the center back. This
is
> the last trace of panner fashion dying out.

Thanks for the input everyone -- I think I'm going to start with 1-2
petticoats and a more-towards-the-back bumpad and see where that gets me.
My underskirt will be made of silk poplin, so I'm hoping that should have
some stiffness to it.  I like AlbertCat's suggestion of adding a quilted
overlay to the bumpad, so I'll add that if my bumpad doesn't have enough hip
to it (luckily I am MORE than well endowed in that area, so my body may help
me out here).

> Wonderfull dress, are you going to make it?

Isn't it great?  I'm going to make something similar in terms of cut and the
stripes, but different color scheme... You can see my fabric choices here:
http://demode.tweedlebop.com/anglaise.html

- Kendra

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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
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Subject: [h-cost] Re: Bodice smoothness
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Here's another thought:  how are you closing your bodices?  If you're not,
can use lacing (which would allow you to stretch your bodice slightly when
you close it) -- under a stomacher if you're doing a robe a la francaise, or
under a "flap" for robes a l'anglaise (like on these dresses:
http://web.infinito.it/utenti/a/a.linda/nuova_pagina_37.htm or
http://web.infinito.it/utenti/a/a.linda/nuova_pagina_38.htm -- not very
clear photos, but some of the few where I've been able to clearly see these
flaps).  I've also got a photo of a 1780s robe a l'anglaise with a
zone-front bodice, from the Museum of London, that is laced closed in the
center front.

Anyway, lacing = stretching, and stretching = smoother look!  I'm thinking
about doing in on my 1780s robe a l'anglaise...

- Kendra

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Subject: RE: [h-cost] how to finish a ruff edge?
Date: Wed, 25 Feb 2004 21:01:09 -0600
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The illustration is showing you hemstitch for drawn threadwork but it can be
applied to a regular hem. It does not leave you with fringe unless you want
fringe. The gap with vertical threads is the area that had thread drawn.
Most cases with drawn thread hemming, the bottom of the picture is the hem,
not the gap area above it. The floss is not on the edge and will not wear as
fast as a blanket stitched edge.
If you want a fancy somewhat scalloped looked edge, I would say the blanket
stitch is what you want but I have only seen it on chemises, I don't know if
that technique was used on ruffs.

De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lisa Sinervo
Sent: Wednesday, February 25, 2004 7:01 PM
To: Historical Costume
Subject: Re: [h-cost] how to finish a ruff edge?


well now I'm confused, this hemstich illustration is one that would leave
fringed edges.  I've tried a narrow hem with a blanket stitch over the top.
This way the edge is finished.  I've interpreted some portraits with
blackworked sleeves has having this type of finish.

Lisa Sinervo



---------- Original Message ----------------------------------
From: Claudine <claudine_on_the_net@yahoo.com>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Wed, 25 Feb 2004 09:28:54 -0800

>Hi Bridgette,
>
>That's perfect! I understand now what you mean. Thanks also for finding
>this page, I'm collecting links to pages with instructions for stitches.
>
>I didn't know openwork was done in the late 1500s. I thought the
>decorations on collars and cuffs were just variations on lace. I'll file
>that under "new thing I learned this week."  :)
>
>Thanks everyone for all the help!
>
>
>
>Claudine
>
>At 06:28 AM 2/24/2004, you wrote:
>
>>Hi there...  sorry for the lousy ASCII art...  didn't mean to confuse
>>things.  I'll try my best to explain ...
>>         Something you might want to look for is a reference to
>> "hemstitch" or "Venetian hemstitch" or "Open hemstitch"
>>
>>ok...  I'll give this a whirl...
>>
>>(20 minutes later...   )  ok that didn't work...   try this
>>http://www.embroideryden.com.au/embroidery_stitch_guide.htm  scroll down
>>to "hemstitch"
>>
>>best of luck.
>>Bridgette - who just can't seem to describe this stitch  ; >
>>
>>
>>
>>
>>>I like the idea of a turned hem with a bit of
>>>openwork, but I don't understand how I would
>>>accomplish that. When I do a hem I end up with little
>>>stitches on the outside of the garment that are
>>>basically perpendicular the the hem edge; I don't see
>>>how that converts to openwork. Bridgette, from your
>>>ASCII drawing, are you saying that I should throw in a
>>>horizontal stitch between the normal, slanted heming
>>>stitches? Would that be enough to create holes in the
>>>fabric, or should I pull threads out parallel to the
>>>hem? Sorry for all the questions, but I've only ever
>>>read about openwork and have never done it.
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>


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Subject: Re: [h-cost] Portrait of Catherine Parr
Date: Wed, 25 Feb 2004 18:59:41 -0800
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----- Original Message -----
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
Subject: Re: [h-cost] Portrait of Catherine Parr

<snip>

> Maybe he wasn't working off of an inventory description.  I suppose it's
> possible that the necklace in question still exists, and can be seen and
> visually compared to what the lady in the portrait wears.  Though I'm
still
> skeptical--the necklace I see appears to be a simple strand; how is it
> possible to say that it shows Catherine's pearl necklace?

Although this Guardian article says that "...the pearls which Catherine is
recorded as inheriting from her mother... [were] the clincher..."

http://www.guardian.co.uk/arts/news/story/0,11711,1155548,00.html

- Kendra

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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <200402251901.AA29753544@thrednedlestrete.com>
Subject: Re: [h-cost] how to finish a ruff edge?
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oops, never mind, I'd missed the post about the fringe effect.  This a very
nice treatment too.

Lisa

----- Original Message -----
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 5:01 PM
Subject: Re: [h-cost] how to finish a ruff edge?


> well now I'm confused, this hemstich illustration is one that would leave
fringed edges.  I've tried a narrow hem with a blanket stitch over the top.
This way the edge is finished.  I've interpreted some portraits with
blackworked sleeves has having this type of finish.
>
> Lisa Sinervo
>
>
>
> ---------- Original Message ----------------------------------
> From: Claudine <claudine_on_the_net@yahoo.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date:  Wed, 25 Feb 2004 09:28:54 -0800
>
> >Hi Bridgette,
> >
> >That's perfect! I understand now what you mean. Thanks also for finding
> >this page, I'm collecting links to pages with instructions for stitches.
> >
> >I didn't know openwork was done in the late 1500s. I thought the
> >decorations on collars and cuffs were just variations on lace. I'll file
> >that under "new thing I learned this week."  :)
> >
> >Thanks everyone for all the help!
> >
> >
> >
> >Claudine
> >
> >At 06:28 AM 2/24/2004, you wrote:
> >
> >>Hi there...  sorry for the lousy ASCII art...  didn't mean to confuse
> >>things.  I'll try my best to explain ...
> >>         Something you might want to look for is a reference to
> >> "hemstitch" or "Venetian hemstitch" or "Open hemstitch"
> >>
> >>ok...  I'll give this a whirl...
> >>
> >>(20 minutes later...   )  ok that didn't work...   try this
> >>http://www.embroideryden.com.au/embroidery_stitch_guide.htm  scroll down
> >>to "hemstitch"
> >>
> >>best of luck.
> >>Bridgette - who just can't seem to describe this stitch  ; >
> >>
> >>
> >>
> >>
> >>>I like the idea of a turned hem with a bit of
> >>>openwork, but I don't understand how I would
> >>>accomplish that. When I do a hem I end up with little
> >>>stitches on the outside of the garment that are
> >>>basically perpendicular the the hem edge; I don't see
> >>>how that converts to openwork. Bridgette, from your
> >>>ASCII drawing, are you saying that I should throw in a
> >>>horizontal stitch between the normal, slanted heming
> >>>stitches? Would that be enough to create holes in the
> >>>fabric, or should I pull threads out parallel to the
> >>>hem? Sorry for all the questions, but I've only ever
> >>>read about openwork and have never done it.
> >>
> >>_______________________________________________
> >>h-costume mailing list
> >>h-costume@mail.indra.com
> >>http://mail.indra.com/mailman/listinfo/h-costume
> >
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Portrait of Catherine Parr
Date: Wed, 25 Feb 2004 21:21:11 -0600
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The various spellings of Shakespeare may not have been due to his spelling
it differently but in the possibility that William Shaksper of
Stratford-on-Avon, a business man with no, as yet, connection to theatre
that everyone claims is the Bard of the plays may not have written the plays
and that Shakespeare of the plays was a pseudonym for a nobleman who would
have had the education that shows in the plays that a business man would not
have had.
Using C instead of K seems to be a misinformation that has been handed down
for a long time.

De
(sorry if this comes across as rambling)

<I just find it interesting that history never uses the names by which
the Queens actually signed their names. In almost every history book
I've ever seen, the Katherines of Henry VIII's life were all spelled
either Katherine or Catherine, neither of which would have been used
in their time period. ;) (And these queens pretty consistently
spelled their names the same way each time, unlike Shakespeare who
seemed to do different spellings just for fun, yet everyone always
uses him as an example of how names in period were always spelled in
many ways by the same person.)

Kat
<kat@redtrollforge.com>


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Portrait of Catherine Parr
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On Wednesday 25 February 2004 09:59 pm, Kendra Van Cleave wrote:
> ----- Original Message -----
> From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
> Subject: Re: [h-cost] Portrait of Catherine Parr
>
> <snip>
>
> > Maybe he wasn't working off of an inventory description.  I suppose it's
> > possible that the necklace in question still exists, and can be seen and
> > visually compared to what the lady in the portrait wears.  Though I'm
> still skeptical--the necklace I see appears to be a simple strand; how is it
>  possible to say that it shows Catherine's pearl necklace?
>
> Although this Guardian article says that "...the pearls which Catherine is
> recorded as inheriting from her mother... [were] the clincher..."
>
> http://www.guardian.co.uk/arts/news/story/0,11711,1155548,00.html

He was reported as saying that in the BBC article that started this thread, 
too, but it didn't say why he was so sure the pearls in the portrait are the 
strand inherited by Catherine.


-- 
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] how to finish a ruff edge?
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There's an exquisite ruff on Sir Edward Hoby with a likely blanket stitch or
similar edging.  see www.thrednedlestrete.com/Bulletinboard.htm but I'd
really like to see a better reproduction and in colour, sometimes it looks
like a mirco mini ruffle and the edge, but I doubt that.  I'm trying to make
a similar one right now with machine blackwork.  I believe it's part of the
National Portrait Gallery's collection but it's not on their web site
unfortunately.  I'm glad you mentioned the fringe edgings, it really
solidified the construction for me on so many of those images I've seen.

Lisa Sinervo


----- Original Message -----
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 7:01 PM
Subject: RE: [h-cost] how to finish a ruff edge?


> The illustration is showing you hemstitch for drawn threadwork but it can
be
> applied to a regular hem. It does not leave you with fringe unless you
want
> fringe. The gap with vertical threads is the area that had thread drawn.
> Most cases with drawn thread hemming, the bottom of the picture is the
hem,
> not the gap area above it. The floss is not on the edge and will not wear
as
> fast as a blanket stitched edge.
> If you want a fancy somewhat scalloped looked edge, I would say the
blanket
> stitch is what you want but I have only seen it on chemises, I don't know
if
> that technique was used on ruffs.
>
> De



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Subject: [h-cost] Re: Help decifering a source (Tudor)
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I would suggest finding a book on the history of lace as there is
still a lot of controversy as to when lace became used as we know it.
Garments described as all or in part as lace or laced could also be
interpreted as garments with lacing fastening and/or trim, rather than
decorative lace as we know it.  The lace could also be more of what we
know
of as a braid trim--see early neck ruffs for examples.

 <snip for length>

Cindy Abel
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Naturally my notes are at home but I just finished researching a
history of lace class and found that as late as, I think, 1596 or 8,
'lace' in one of the first dictionarys was still defined as a cord for
tying things up, rather than something used for decorating a costume.

Catherine
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And what do you make of the other trim(Braid?) in the jacket.  In black and
white, it could be tiny pearls or maybe embroidered knots to look like
pearls?
Kathleen
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 11:53 PM
Subject: Re: [h-cost] how to finish a ruff edge?


> There's an exquisite ruff on Sir Edward Hoby with a likely blanket stitch
or
> similar edging.  see www.thrednedlestrete.com/Bulletinboard.htm but I'd
> really like to see a better reproduction and in colour, sometimes it looks
> like a mirco mini ruffle and the edge, but I doubt that.  I'm trying to
make
> a similar one right now with machine blackwork.  I believe it's part of
the
> National Portrait Gallery's collection but it's not on their web site
> unfortunately.  I'm glad you mentioned the fringe edgings, it really
> solidified the construction for me on so many of those images I've seen.
>
> Lisa Sinervo
>
>
> ----- Original Message -----
> From: "otsisto" <otsisto@socket.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, February 25, 2004 7:01 PM
> Subject: RE: [h-cost] how to finish a ruff edge?
>
>
> > The illustration is showing you hemstitch for drawn threadwork but it
can
> be
> > applied to a regular hem. It does not leave you with fringe unless you
> want
> > fringe. The gap with vertical threads is the area that had thread drawn.
> > Most cases with drawn thread hemming, the bottom of the picture is the
> hem,
> > not the gap area above it. The floss is not on the edge and will not
wear
> as
> > fast as a blanket stitched edge.
> > If you want a fancy somewhat scalloped looked edge, I would say the
> blanket
> > stitch is what you want but I have only seen it on chemises, I don't
know
> if
> > that technique was used on ruffs.
> >
> > De
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Subject: Re: [h-cost] Help decifering a source (Tudor)
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My query was the "East" or "West"..
But to the point,the equation of 'evil' and
"inhospitable" has often been seen in the long trail of civilization .  At
least from my point of view. Look at the attitudes of the Brits and the
Celts.  And even other barbarians (from the Roman point of view). or the
Greeks Or the Sumarians or Egyptians...etc.
By the Age of Enlightenment, the attitude toward the American 'Indian' was
greatly romanticized.  But in this earlier Period, except for the reports of
early explorers, the settlements of Jamestown and Plimouth and those
involved in the fur trade saw them as more 'inconvenient' than 'evil'.
Kathleen

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 9:51 PM
Subject: RE: [h-cost] Help decifering a source (Tudor)


>
> I do not understand how the reference is easily identifiable as American
> Indian. How are the "indian dressed ladies depicting "evil"?
> I would more likely think that the "Indian" is more in reference to India
as
> there would be more of an influence on clothing from India than from the
> Americas.
> De
>
>
> <Considering this was 1522 . .it could have been either. Id assume they
are
> talking "American" Indians as these ladies were depicted as being "evil"
> ----- Original Message -----
> From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, February 25, 2004 4:07 PM
> Subject: Re: [h-cost] Help decifering a source (Tudor)
>
>
> > "Indian women"...dare I ask East or West?
> > Kathleen
> > ----- Original Message -----
> > From: <kat@grendal.rain.com>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Wednesday, February 25, 2004 1:13 PM
> > Subject: Re: [h-cost] Help decifering a source (Tudor)
> >
> >
> > >
> > > > Hello all, I need some help figuring out what a source is talking
> > > > about. I came across this passage in my research into the
Tournaments
> > > > during the age of Henry VIII. It says that the ladies wore "Milan
> > > > point lace gowns of white satin" and "Milan bonnets of gold with
> > > > jewels" and that other ladies were dressed "like Indian Women in
black
> > > > bonnets". This is approximately 1522. I have never heard of a lace
> > > > gown or a Milan bonnet. Can someone please help me figure out
exactly
> > > > what these garments are?
> > >
> > > A Milan point lace gown would be a gown decorated with Milan point
> > > lace (a type of needle lace.)
> > >
> > > The Milan bonnet is a type of hat which is sort of like a beret with
> > > a brim which turns up.
> > >
> > > Where did you find the passage? Is it a modern description of a
> > > picture someone saw or is it a quote from someone who was there
> > > (actually written by someone in the same time period.) If I could
> > > read it myself in the place where you found it, I might be able to
> > > give you more information about it. (Sometimes it's the context which
> > > is the most important.)
> > >
> > > As to "dressed like Indian Women", that's a hard one. It's almost too
> > > vague to be helpful.
> > >
> > > Kat
> > > <kat@redtrollforge.com>
> > >
> > >
> > > _______________________________________________
> > > h-costume mailing list
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Date: Thu, 26 Feb 2004 09:06:45 -0600
Subject: Re: [h-cost] how to finish a ruff edge?
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Status: RO

While it certainly looks like a blanket stitch, I have to think that
something else is going on here as a blanket stitch that would be visible
at the proportion of that painting would be really big! The needlework
I've seen from the era (hours spent drooling on the cases at the V&A)
seems to indicate that fine stitching was the norm. In fact, the linen
I've seen is much finer than the linen available today and as a result
the stitching tends to be almost microscopically fine. I also seem to see
a 'loop' effect when you see the ruff in profile so I'd tend to think
that it's a needlelace of some sort rather than an embroidery stitch. 

Just my tuppence,

Karen

On Thu, 26 Feb 2004 09:56:15 -0500 "Lloyd Mitchell"
<rmitchell@washjeff.edu> writes:
> And what do you make of the other trim(Braid?) in the jacket.  In 
> black and
> white, it could be tiny pearls or maybe embroidered knots to look 
> like
> pearls?
> Kathleen
> ----- Original Message ----- 
> From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, February 25, 2004 11:53 PM
> Subject: Re: [h-cost] how to finish a ruff edge?
> 
> 
> > There's an exquisite ruff on Sir Edward Hoby with a likely blanket 
> stitch
> or
> > similar edging.  see www.thrednedlestrete.com/Bulletinboard.htm 
> but I'd
> > really like to see a better reproduction and in colour, sometimes 
> it looks
> > like a mirco mini ruffle and the edge, but I doubt that.  I'm 
> trying to
> make
> > a similar one right now with machine blackwork.  I believe it's 
> part of
> the
> > National Portrait Gallery's collection but it's not on their web 
> site
> > unfortunately.  I'm glad you mentioned the fringe edgings, it 
> really
> > solidified the construction for me on so many of those images I've 
> seen.
> >
> > Lisa Sinervo
> >
> >
> > ----- Original Message -----
> > From: "otsisto" <otsisto@socket.net>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Wednesday, February 25, 2004 7:01 PM
> > Subject: RE: [h-cost] how to finish a ruff edge?
> >
> >
> > > The illustration is showing you hemstitch for drawn threadwork 
> but it
> can
> > be
> > > applied to a regular hem. It does not leave you with fringe 
> unless you
> > want
> > > fringe. The gap with vertical threads is the area that had 
> thread drawn.
> > > Most cases with drawn thread hemming, the bottom of the picture 
> is the
> > hem,
> > > not the gap area above it. The floss is not on the edge and will 
> not
> wear
> > as
> > > fast as a blanket stitched edge.
> > > If you want a fancy somewhat scalloped looked edge, I would say 
> the
> > blanket
> > > stitch is what you want but I have only seen it on chemises, I 
> don't
> know
> > if
> > > that technique was used on ruffs.
> > >
> > > De
> >
> >
> >
> > _______________________________________________
> > 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 Feb 26 10:19:19 2004
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	<200402252229.30290.cathy@thyrsus.com>
Subject: Re: [h-cost] Portrait of Catherine Parr
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Status: RO

I think that the idea that the ownership of the pearls can be put to the
mother, and that the presence of them on the subject of the portrait
illustrates what they looked like.  If a viewer later equates that these
were given to Catherine with this particular portrait in view, the
anachronisms of the dress and gable headdress would point to the earlier
subject...ie, Katherine's mother.
Kathleen
----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 25, 2004 10:29 PM
Subject: Re: [h-cost] Portrait of Catherine Parr


> On Wednesday 25 February 2004 09:59 pm, Kendra Van Cleave wrote:
> > ----- Original Message -----
> > From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
> > Subject: Re: [h-cost] Portrait of Catherine Parr
> >
> > <snip>
> >
> > > Maybe he wasn't working off of an inventory description.  I suppose
it's
> > > possible that the necklace in question still exists, and can be seen
and
> > > visually compared to what the lady in the portrait wears.  Though I'm
> > still skeptical--the necklace I see appears to be a simple strand; how
is it
> >  possible to say that it shows Catherine's pearl necklace?
> >
> > Although this Guardian article says that "...the pearls which Catherine
is
> > recorded as inheriting from her mother... [were] the clincher..."
> >
> > http://www.guardian.co.uk/arts/news/story/0,11711,1155548,00.html
>
> He was reported as saying that in the BBC article that started this
thread,
> too, but it didn't say why he was so sure the pearls in the portrait are
the
> strand inherited by Catherine.
>
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "Anything's within walking distance if you have the time." -Steven Wright
> _______________________________________________
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From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] Last update before Robin Netherton lectures in Philly area
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Greetings everyone,

I just wanted to drop a quick note reminding folks
that Robin Netherton will be coming to town for a day
of slide-enhanced dress history lectures at Bryn Mawr
University this Saturday, February 28th. 

For those who are already signed up, don't forget! :^D

For those who might still be interested in coming but
have not signed up, the good news is there are a few
seats remaining, available solely on a walk-in,
first-come, first-served basis. Our registration desk
opens at 9AM sharp. Please be prepared to pay with a
check in the amount of $35.

The web flier has some updated information concerning
lunch:

http://www.cottesimple.com/robin_netherton/lecture_info.htm

Thank you for your time,
Tasha McGann
(Marcele de Montsegur in the SCA)

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> My query was the "East" or "West"..
> But to the point,the equation of 'evil' and
> "inhospitable" has often been seen in the long trail of civilization .  At
> least from my point of view. Look at the attitudes of the Brits and the
> Celts.  And even other barbarians (from the Roman point of view). or the
> Greeks Or the Sumarians or Egyptians...etc.
> By the Age of Enlightenment, the attitude toward the American 'Indian' was
> greatly romanticized.  But in this earlier Period, except for the reports
of
> early explorers, the settlements of Jamestown and Plimouth and those
> involved in the fur trade saw them as more 'inconvenient' than 'evil'.
> Kathleen
>

I should have been more specific. The ladies in the Milan lace dresses are
portraying Beauty, Kindness, Perseverance etc. The ladies dressed as Indians
are Disdain, Scorn, Sharp Tongue, Unkindness etc. I was wondering if the new
world was still so new and the natives were seen as savages that it might be
those types of Indians they were portraying.

Muirgheal
who appreciates the opinions thus far.

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From: Hope Greenberg <hope.greenberg@uvm.edu>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Portrait of Catherine Parr
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The Guardian has a story about the Starkey interview here:
http://www.guardian.co.uk/arts/news/story/0,11711,1155548,00.html

One thing mentioned in the BBC recording is that the portrait was used 
to be thought that of Jane Seymour. That doesn't make much sense, 
though. The idea that it is Parr seems much more likely.

- Hope

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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20040226.090645.-374377.0.Seamstrix@juno.com>
Subject: Re: [h-cost] how to finish a ruff edge?
Date: Thu, 26 Feb 2004 12:40:10 -0800
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Karen wrote:


> While it certainly looks like a blanket stitch, I have to think that
> something else is going on here as a blanket stitch that would be visible
> at the proportion of that painting would be really big! The needlework
> I've seen from the era (hours spent drooling on the cases at the V&A)
> seems to indicate that fine stitching was the norm. In fact, the linen
> I've seen is much finer than the linen available today and as a result
> the stitching tends to be almost microscopically fine. I also seem to see
> a 'loop' effect when you see the ruff in profile so I'd tend to think
> that it's a needlelace of some sort rather than an embroidery stitch.
>
I definitely see that wavy/loop appearing on the very edge, which wouldn't
happen with a straight blanket stitch.  Just pulled out "Elizabethan Lace"
by Gilian Dye and she describes a Venetian Picot stitch under the section
"Decorated Edges" - (describing finishing for ruffs and cuffs).  The linear
effect is similar to a blanket stitch but would be more raised as there is a
bit of looping around various threads going on.  I might experiment with
this as a likely edging for the ruff in question.  She does not give details
references unfortunately.  But  I'll bet it would produce a slight up and
down effect to between the thread and fabric in a way straight blanket
stitching wouldn't. I wonder what Digby has to say about this. ..... another
source to look through.

Lisa Sinervo


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From h-costume-bounces@indra.com  Thu Feb 26 17:29:20 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] how to finish a ruff edge?
Date: Thu, 26 Feb 2004 23:27:13 +0100
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Dear Lisa,
This was a very fine answer you have come with. And i agree with you.
I have also read an old letter written by a sewing teacher wich writes to
the young ladies father and mother, explaining that they have learned to do
that stitching for ruffs as you describes. The danish word is "ruer" and
unfortunately i cant translate that to english, as the word "ruer" is not
used today.
But young noble girls/ladies was teached to make their own ruffs.

Bjarne


----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, February 26, 2004 9:40 PM
Subject: Re: [h-cost] how to finish a ruff edge?


> Karen wrote:
>
>
> > While it certainly looks like a blanket stitch, I have to think that
> > something else is going on here as a blanket stitch that would be
visible
> > at the proportion of that painting would be really big! The needlework
> > I've seen from the era (hours spent drooling on the cases at the V&A)
> > seems to indicate that fine stitching was the norm. In fact, the linen
> > I've seen is much finer than the linen available today and as a result
> > the stitching tends to be almost microscopically fine. I also seem to
see
> > a 'loop' effect when you see the ruff in profile so I'd tend to think
> > that it's a needlelace of some sort rather than an embroidery stitch.
> >
> I definitely see that wavy/loop appearing on the very edge, which wouldn't
> happen with a straight blanket stitch.  Just pulled out "Elizabethan Lace"
> by Gilian Dye and she describes a Venetian Picot stitch under the section
> "Decorated Edges" - (describing finishing for ruffs and cuffs).  The
linear
> effect is similar to a blanket stitch but would be more raised as there is
a
> bit of looping around various threads going on.  I might experiment with
> this as a likely edging for the ruff in question.  She does not give
details
> references unfortunately.  But  I'll bet it would produce a slight up and
> down effect to between the thread and fabric in a way straight blanket
> stitching wouldn't. I wonder what Digby has to say about this. .....
another
> source to look through.
>
> Lisa Sinervo
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Just a blushing Bjarne, who begs for forgivenes in my ignorance, taking mistakes of Catherine Parr and Anne of Cleves.
I should learn from this and shut my mouth in things i dont know anything about. :-)

Bjarne





Leif og Bjarne Drews
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Dear Lisa,
This was a very fine answer you have come with. And i agree with you.
I have also read an old letter written by a sewing teacher wich writes to
the young ladies father and mother, explaining that they have learned to do
that stitching for ruffs as you describes. The danish word is "ruer" and
unfortunately i cant translate that to english, as the word "ruer" is not
used today.
But young noble girls/ladies was teached to make their own ruffs.

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: [h-cost] bodice smoothness---different use
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If you just want to add a bit of body to a fabric that drapes in a lovely manner for the skirts but 
just seems too thin or *floppy* in the bodice, try a featherweight fusible 
interfacing.  The featherweight is enough to just add a little body to a thin or 
fine fabric, without being detectible once the garment is made.

-Tiffany
Reflections*of*Worth


OMG----Thank you !!    This is why I LOVE this list and read the posts even if they do not pertain to the period I am doing right now.   This has given me the way to solve a problem I am having with some gorgeous silk tapestry I have to make an Elizabethan with.    The material is very expensive but, the threads of the tapestry sections do not go from selvege to selvege but are instead "cut" at the end of the section they are used in.    This makes it possible (and probable) that the individual threads will continually work their way out of the base as the garment is worn or cleaned.   Using the featherweight fusible interfacing would "lock" these threads in place without changing the look of the outer material.    I do not know why I had not thought of this before.

Thanks----Diane
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Subject: Re: [h-cost] Portrait of Catherine Parr
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This portrait is almost identical to one that has been labelled as
Catherine of Aragon for years, including the hand held in front of the
chest. It's not impossible that it could be KP, but I agree with folks
that it looks nothing like her and a lot more like CoA. And if I am
remembering my history correctly, KP was a staunch Protestant and very
much into the Humanist way of thinking which makes me think that she
wouldn't be keen on being portrayed in the guise of an icon of
Catholicism. 
My vote is for Catherine of Aragon.


Karen




On Thu, 26 Feb 2004 15:58:33 -0500 Hope Greenberg
<hope.greenberg@uvm.edu> writes:
> The Guardian has a story about the Starkey interview here:
> http://www.guardian.co.uk/arts/news/story/0,11711,1155548,00.html
> 
> One thing mentioned in the BBC recording is that the portrait was 
> used 
> to be thought that of Jane Seymour. That doesn't make much sense, 
> though. The idea that it is Parr seems much more likely.
> 
> - Hope
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

________________________________________________________________
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>From the Hidehouse...I don't know why I got this email (I've never ordered
from them before), but thought some of you might find it useful.

Sg

-----Original Message-----
From: hideinfo@hidehouse.com [mailto:hideinfo@hidehouse.com] 
Sent: Thursday, February 26, 2004 3:44 PM
To: saragrace@earthlink.net
Subject: ONLINE SWATCHES


Dear Valued Customers
We are pleased to announce that our website has been further enhanced so
that you may view our complete color product line from your computer! Once
you are at http://www.hidehouse.com go to either the "our hides" section or
"online tools", from there you will select swatches.  We hope this assists
you in your leather needs! Come and see us at the Reno Western
Leatherworkers Trade Show!  This show is March 26-28 at the Reno Livestock
Event Center, 1350 N Wells Ave Reno, NV  89512 Hope to see you there! The
Hide House http://www.hidehouse.com hideinfo@hidehouse.com 800 4LEATHR
 
      

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> This portrait is almost identical to one that has been labelled as
> Catherine of Aragon for years, including the hand held in front of the
> chest. It's not impossible that it could be KP, but I agree with folks
> that it looks nothing like her and a lot more like CoA. And if I am
> remembering my history correctly, KP was a staunch Protestant and very
> much into the Humanist way of thinking which makes me think that she
> wouldn't be keen on being portrayed in the guise of an icon of
> Catholicism. My vote is for Catherine of Aragon.

K. Parr *became* a staunch reformist in the Humanist tradition, but 
she was raised Catholic and seemed to have changed during her 
marriage to Latimer (around 1540). (Latimer himself may have been 
more reformist than Catholic by the time he was pressured into being 
part of the Catholic rebellion.)

Of course, it all depends on those silly pearls as to who it is. Who 
did K. Parr supposedly inherit them from? Could they have been CoA's 
(since K. Parr was supposedly named after her and CoA was supposedly 
one of her god parents) and given to K.Parr by CoA? (At this point 
I'd like it if we could get David Starkey here and ask him these 
questions. Trying to parse it out from an article on the BBC is 
difficult.)

Kat
<kat@redtrollforge.com>


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In a message dated 2/26/2004 4:55:29 PM Central Standard Time, 
Camelothorse@earthlink.net writes:
I do not know why I had not thought of this before.

Thanks----Diane


Diane,

You're very welcome!  I think that a lot of times fusible interfacing is not 
something that we think of in relation to period attire, because it's so 
un-period LOL.  But, they had their methods for stiffening/giving weight and body 
to fabrics as well; to me this is just an alternative that works really well to 
achieve a period look, and no one has to know!!!  

-Tiffany
Reflections*of*Worth
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> This portrait is almost identical to one that has been labelled as
> Catherine of Aragon for years, including the hand held in front of the
> chest. It's not impossible that it could be KP, but I agree with folks
> that it looks nothing like her and a lot more like CoA. And if I am
> remembering my history correctly, KP was a staunch Protestant and very
> much into the Humanist way of thinking which makes me think that she
> wouldn't be keen on being portrayed in the guise of an icon of
> Catholicism.
> My vote is for Catherine of Aragon.

The only hole in that theory is that KP wasn't openly a staunch 
protestant at least until after Jane Seymore had come and gone.  It was 
safe to assume that you were "Catholic" in Henry's time because he 
believed himself to be a son of the true faith, even after the break 
with Rome in the early 1530's.  KP was born far before the reformation 
even was conceived, so for argument's sake, even though she turned to 
Protestantism in her adulthood, she was more than likely born and 
raised (at least in part) as Catholic.  Not that her religion has 
anything to do with the question of the sitter in this portrait... 
Catherine of Aragon was by and far a terribly popular queen and pretty 
much all of Henry's subsequent wives with the exclusion of Anne Boleyn 
sought to emulate her in terms of her piety, her humility and her 
devotion to Henry.  If KP's mother was indeed in CA's retinue (someone 
mentioned this earlier but I haven't bothered to verify it), then KP 
was certainly reared with CA's example as a woman and queen during her 
formative years.  *If* this painting is of KP in her late teens, as 
Starkey thinks, it's entirely logical that her style of dress would fit 
well with who was seen as a "good role model" for young women.  Also, 
remember Henry didn't divorce CA until the early 1530's (don't have the 
exact date off hand, but it was between 1530-33), so she was probably 
still queen when this portrait was painted, if it it's been definitely 
dated to the late 1520's.

I don't have any idea if Starkey is right in his assumption that the 
sitter is KP, but he has got some valid arguments and KP fits squarely 
into that time frame as a possibility.  But I'd also have to wonder if 
the woman in the painting isn't KP's mother, or another close female 
relative that might have had a connection with the pearls.

Sarah

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From: Carol Mitchell <carolshistory3@yahoo.com>
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I remember there was a recent thread on this subject. If the information is still relevant, perhaps this would be helpful
Carol
1. Polish Costuming Resource
You have found Art and Jocelyn's online Polish costuming resource. These pictures have been carefully selected to represent the ...
http://www.icbleu.org/artur/polcostumes.htm

3. Polish Folk Costumes
Extensive information, history and general background; custom costumes. Extensive information, history and general background of Polish Folks...
http://www.chebucto.ns.ca/~aa051/pfc.html
4. The Costumer's Manifesto: Traditional Dress, "Ethnic" Costumes and ...
... Greek Folk Dance Resource Manual. Polish Costuming Resource. Old Armenia Family. Welcome to greektownimports.com - Your source for Greek gifts and Greek music. ...
http://www.costumes.org/ethnic/1PAGES/ETHNOLNK.HTM
5. Party links
... Polish Christmas Traditions. Polish Circus Posters. Polish Collector. Polish Composers. Polish Costuming Resource. Polish Culture (Bella ...
http://members.aol.com/pietruszka/Links.html
6. Clothing and Costume Links
Polish. Polish Costuming Resource...
http://moas.atlantia.sca.org/topics/clot.htm
7. Perfekt: Polish Regional Costumes
PERFEKT s.c. - manufacturer of Polish folk costumes. Web catalogue of costumes.
http://www.perfekt.krakow.pl/index_en.php
8. Polish Folk Costumes: Introduction
Polish Folk Costumes [Nowi Sacz Costume From Polish
http://www.chebucto.ns.ca/~aa051/pfc_intro.html
9. Polish Costumes, Customs and Crafts
The Collectors Guide: Folk Arts of Poland Polish Art Center Polart Polish American Journal's Internet Bookstore Polish Folk Resources...
http://geocities.com/musetti.geo/ccc.html
10. Polish Folk Resources
... Usenet Groups. alt.history.costuming; rec.folk-dancing; soc.culture.polish. Polish Folk Costumes selected as Polish Site of the Month! ...
http://www.chebucto.ns.ca/~aa051/polish.html



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Portrait of Catherine Parr
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On Thursday 26 February 2004 10:21 am, Lloyd Mitchell wrote:
> I think that the idea that the ownership of the pearls can be put to the
> mother, and that the presence of them on the subject of the portrait
> illustrates what they looked like.  If a viewer later equates that these
> were given to Catherine with this particular portrait in view, the
> anachronisms of the dress and gable headdress would point to the earlier
> subject...ie, Katherine's mother.

Hmmm.  That's an idea I hadn't had.  

However, your suggestion does illustrate my point.  Without more information 
than the BBC and Guardian articles provide, it's hard to rule out 
possibilities like the one you just raised from Starkey's theory in any 
principled way.

-- 
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  Thu Feb 26 21:48:13 2004
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Portrait of Catherine Parr
Date: Thu, 26 Feb 2004 18:48:51 -0800
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Status: RO

If so much depends on the pearls, it kinda makes you wonder how it happened
that only one rope of pearls existed in all Tudor Nobility since no other
woman could possibly have had such a strand.  (Except for Mary Queen of
Scots black ones of course).  One thing about it.  In a few years, another
Art Historian is probably going to come out with another identification.

Regina


> Of course, it all depends on those silly pearls as to who it is. Who
> did K. Parr supposedly inherit them from? Could they have been CoA's
> (since K. Parr was supposedly named after her and CoA was supposedly
> one of her god parents) and given to K.Parr by CoA? (At this point
> I'd like it if we could get David Starkey here and ask him these
> questions. Trying to parse it out from an article on the BBC is
> difficult.)
>
> Kat
> <kat@redtrollforge.com>
>
>
> _____


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Portrait of Catherine Parr
Date: Thu, 26 Feb 2004 22:13:30 -0600
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I kind of wonder about Mary's famous black pearls. I've seen other portraits
of the period with black pearl necklaces.
If he is making the identification solely on the necklace then that is poor
research. Comes across as someone just wanting to be in the spotlight.

De
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Wanda Pease
Sent: Thursday, February 26, 2004 8:49 PM
To: Historical Costume
Subject: RE: [h-cost] Portrait of Catherine Parr


If so much depends on the pearls, it kinda makes you wonder how it happened
that only one rope of pearls existed in all Tudor Nobility since no other
woman could possibly have had such a strand.  (Except for Mary Queen of
Scots black ones of course).  One thing about it.  In a few years, another
Art Historian is probably going to come out with another identification.

Regina


> Of course, it all depends on those silly pearls as to who it is. Who
> did K. Parr supposedly inherit them from? Could they have been CoA's
> (since K. Parr was supposedly named after her and CoA was supposedly
> one of her god parents) and given to K.Parr by CoA? (At this point
> I'd like it if we could get David Starkey here and ask him these
> questions. Trying to parse it out from an article on the BBC is
> difficult.)
>
> Kat
> <kat@redtrollforge.com>
>
>
> _____


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From h-costume-bounces@indra.com  Fri Feb 27 00:04:29 2004
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> I kind of wonder about Mary's famous black pearls. I've seen other 
> portraits
> of the period with black pearl necklaces.
> If he is making the identification solely on the necklace then that is 
> poor
> research. Comes across as someone just wanting to be in the spotlight.

That's really what bugs me about Starkey.  He's very sensationalistic 
and he makes his subjects sound as though they were nothing more than 
sex-crazed drama queens.  I can understand wanting to "sex things up" 
for a modern audience, but to me, Starkey often crosses the line and 
winds up sounding like a salacious old man who thinks every woman back 
in the Renaissance was solely concerned with what was going on between 
her legs.  Either that or they're portrayed as airheads...

But that's just my personal problem with him.  On the whole, he does 
seem to do his homework, even if he tends to really water down the 
facts to make a quick buck.  I quite prefer Alison Weir over Starkey, 
but others may disagree.  I think she tells it much more realistically 
and stays truer to the personality of her subjects than most 
historians.  Although she does occassionally bore me to tears (I'm 
still trying to wade through "Mary Queen of Scots and the Murder of 
Lord Darnley").  ;)

Sarah

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Subject: Re: [h-cost] Portrait of Catherine Parr
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In a message dated 2/26/2004 11:01:55 PM Central Standard Time, 
sarah@modehistorique.com writes:
Although she does occassionally bore me to tears (I'm 
still trying to wade through "Mary Queen of Scots and the Murder of 
Lord Darnley").  ;)

Sarah


Have you read Margaret George's "Mary Queen of Scotland and the Isles"?  It's 
really pretty good.  I still want to smack some sense into Mary, but it does 
the best job I've found so far of making her sympathetic and almost likeable.  
It also drags a bit in places, but really ... how do you make two decades of 
imprisonment interesting?

-Tiffany
Reflections*of*Worth
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>
> Have you read Margaret George's "Mary Queen of Scotland and the 
> Isles"?  It's
> really pretty good.  I still want to smack some sense into Mary, but 
> it does
> the best job I've found so far of making her sympathetic and almost 
> likeable.
> It also drags a bit in places, but really ... how do you make two 
> decades of
> imprisonment interesting?

LOL!  Good point.  I'll have to check it out!

Sarah

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
In making my embroidered buttons for the new waistcoat, i experimented with the gold passing thread. And i think the experiment went very well.
This would also be a wonderfull way to make trimmings on a waistcoat or suit. 1row of gold passing thread, 1 row of gold spangels, and 1 row of gold passing thread.
Pictures are at the bottom of the side:
http://www.my-drewscostumes.dk/chenillesuit.htm

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] how to finish a ruff edge?
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Isn't needle lace quite a lot of elaborated blanket &/or buttonhole stitch?
 
I know there are some other things that may go on with needle lace, but the start is a blanket stitch with something extra in the way of twists, loops, etc. at the loopy end.
 
of course, I tend to think of nalbinding as a fancy form of blanket stitch, too, so what do I know.
 
Ann in CT

Lisa Sinervo <Lisa-list@thrednedlestrete.com> wrote:

Karen wrote:
[on a ruff}]
>looks like a blanket stitch,  something else is going on here as a blanket >stitch tat would be visible at the proportion of that painting would be really big! >I'd tend to think that it's a needlelace of some sort rather than an embroidery >stitch.
>
loop on the very edge, which wouldn't happen with a straight blanket stitch. 

 "Elizabethan Lace"by Gilian Dye . . . Venetian Picot stitch section"Decorated Edges" . The linear effect is similar to a blanket stitch but would be more raised as there is abit of looping around various threads going on.

Digby [may be useful]..... another source to look through.

Lisa Sinervo



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Subject: RE: [h-cost] Portrait of Catherine Parr and women
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sarah
Sent: Thursday, February 26, 2004 10:55 PM
To: Historical Costume
Subject: Re: [h-cost] Portrait of Catherine Parr


> I kind of wonder about Mary's famous black pearls. I've seen other
> portraits
> of the period with black pearl necklaces.
> If he is making the identification solely on the necklace then that is
> poor
> research. Comes across as someone just wanting to be in the spotlight.

That's really what bugs me about Starkey.  He's very sensationalistic
and he makes his subjects sound as though they were nothing more than
sex-crazed drama queens.  I can understand wanting to "sex things up"
for a modern audience, but to me, Starkey often crosses the line and
winds up sounding like a salacious old man who thinks every woman back
in the Renaissance was solely concerned with what was going on between
her legs.  Either that or they're portrayed as airheads...

Yes, but that is how men saw the ideal woman--produce babies, keep quiet,
run the homefront and keep their looks without spending hubby's money(even
if it was her own or her family's before the marriage)because that would be
the sin of vanity and empty outlay of cash!  Hmm...not too far from today
when you start thinking about it.  That men were afraid of the educated
woman does make sense in those days, when you think of the skill and work it
took just to get one meal on the table and men assuming that women had
limited brain power so of course women should concentrate said limited brain
power on running the home because without the home... No wonder the
Puritains later were so hard on anyone who sloughed off work-wise when we
read of how much sheer work went into everything for survival for the
average person.

But that's just my personal problem with him.  On the whole, he does
seem to do his homework, even if he tends to really water down the
facts to make a quick buck.  I quite prefer Alison Weir over Starkey,
but others may disagree.  I think she tells it much more realistically
and stays truer to the personality of her subjects than most
historians.  Although she does occassionally bore me to tears (I'm
still trying to wade through "Mary Queen of Scots and the Murder of
Lord Darnley").  ;)

I have some criticism of some of both Starkey and Weir suppositions,
sometimes. But both are so knowledgeable about the period that it is easy
for the researcher to get sucked in and have their favorites and
not-so-favorite people. I did appreciate how Starkey broke some of the
stereotype of Katherine of Aragon as not quite the saintly queen and
corrected the timeline of Anne's affair with Henry Percy up to Henry VIII's
interest in her. And all authors have always viewed history from the prism
of their own times.  I've preordered Joanna Denny's new biog of Anne Boleyn
from Amazon.com.uk due out on Apr 29th as I try to read everything on Anne,
and it will be interesting to see how Denny sees Anne. If anyone has advance
reviews on this book, please let me know.

I am probably very sympathetic to Anne, and from reading both Starkey and
Weir wonder why no one has brought up the following.  Its a bit off-topic,
but I'll throw it out.

According to Cavendish, Wolsey broke the relationship between Anne and Percy
because Anne wasn't of equal birth and Henry was interested in her.  But
what if Wolsey was throwing up a smoke-screen, i.e., that during yet another
time in English history where the monarch had no set male heir or heirs,
such a marriage between Percy and Anne could possibly endanger the throne.
Look at it this way: if Percy did wed Anne, it would expand the affinities
of both the Northumberland and Howard-Boleyn families, giving two
geographically and politically separate families unity. And while  young
Percy was no Warwick, no Kingmaker of the previous century, as it turned
out, Wolsey had no means of assuming that the recently rehabilitated Howard
clan or Thomas Boleyn wouldn't dream of becoming another Warwick, as Thomas
Howard and Thomas Boleyn were pretty ambitious on promoting the good of
their families(as one was supposed to do, anyway. Historic memories were
long and a previous Northumberland had rebelled against the crown, so the
family was not to be trusted. With no legitimate, unquestioned Tudor male
heir, to allow such a marriage, would be courting disaster, while finalizing
a betrothal and marriage between Percy and Talbot families would just be
maintaining the status quo, since both families were allies and near
neighbors, compared to a Percy/Howard Boleyn marriage alliance. And Heaven
knows what ideas other families might get if Anne had been allowed to wed
Henry Percy.  I got this idea while reading Starkey's corrected timeline(he
cites surviving documents)of the Anne Percy affair, Wolsey's repeated
refusals of Thomas Boleyn's bargining's for higher office and rank(Boleyn's
claim of the Ormond estates and title via his wife's claims), and Wolsey's
hammering of Anne's not being good enough for a Northumberland, while later
having to promote her to being the future Queen.

But of course, Wolsey couldn't say to Anne and Percy or their families "No
you can't marry, because such an alliance could present a danger to the
Throne." It could give the nobility all kinds of ideas.  Henry's daughter,
Elizabeth was later more forthright in denying marriages she saw as
endangering her.  But Henry couldn't risk that--the Tudor dynasty was only
in its second generation on the throne and the Buckingham affair was proof
that the nobility were far from tame dogs with no asperations to the throne.

Cindy Abel

Sarah

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Date: Fri, 27 Feb 2004 08:24:58 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] gold work buttons
To: Historical Costume <h-costume@indra.com>
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That's the wonderful thing about metal thread embroidery---it looks spectacular--with a minimum of effort:) Your experiment looks marvelous, Bjarne!
Albra

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
Hi,
In making my embroidered buttons for the new waistcoat, i experimented with the gold passing thread. And i think the experiment went very well.
This would also be a wonderfull way to make trimmings on a waistcoat or suit. 1row of gold passing thread, 1 row of gold spangels, and 1 row of gold passing thread.
Pictures are at the bottom of the side:
http://www.my-drewscostumes.dk/chenillesuit.htm

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: Re: [h-cost] how to finish a ruff edge?
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What you described Ann is probably the Venetian Picot stitch.  I know little about needle lace so I would not be able to connect "needlelace" with  "Venetian Picot" myself.  But they sound very much the same to me and quite probably are.  It's also nice to have Bjarne's mention of a letter for this type of stitch being used for ruffs.  Boy would I like to have the opportunity to stand in front of the cases at the V & A one day.

Lisa Sinervo


---------- Original Message ----------------------------------
From: Ann Catelli <elvestoorder@yahoo.com>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Fri, 27 Feb 2004 06:39:36 -0800 (PST)

>Isn't needle lace quite a lot of elaborated blanket &/or buttonhole stitch?
> 
>I know there are some other things that may go on with needle lace, but the start is a blanket stitch with something extra in the way of twists, loops, etc. at the loopy end.
> 
>of course, I tend to think of nalbinding as a fancy form of blanket stitch, too, so what do I know.
> 
>Ann in CT
>
>Lisa Sinervo <Lisa-list@thrednedlestrete.com> wrote:
>
>Karen wrote:
>[on a ruff}]
>>looks like a blanket stitch,  something else is going on here as a blanket >stitch tat would be visible at the proportion of that painting would be really big! >I'd tend to think that it's a needlelace of some sort rather than an embroidery >stitch.
>>
>loop on the very edge, which wouldn't happen with a straight blanket stitch. 
>
> "Elizabethan Lace"by Gilian Dye . . . Venetian Picot stitch section"Decorated Edges" . The linear effect is similar to a blanket stitch but would be more raised as there is abit of looping around various threads going on.
>
>Digby [may be useful]..... another source to look through.
>
>Lisa Sinervo
>
>
>
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> That's really what bugs me about Starkey.  He's very sensationalistic
> and he makes his subjects sound as though they were nothing more than
> sex-crazed drama queens.  I can understand wanting to "sex things up"
> for a modern audience, but to me, Starkey often crosses the line and
> winds up sounding like a salacious old man who thinks every woman back
> in the Renaissance was solely concerned with what was going on between
> her legs.  Either that or they're portrayed as airheads...

Interesting. I just finished Starkey's 6 wives and it was the first 
time I'd seen any of the queens (with the exception of K. Parr) 
depicted as anything but stupid or airhead or sex maniacs.

In fact, as far as the "what was going on between her legs" I think 
he put it in better perspective than most. I felt he made us look at 
it in a way other than Victorian "oh my god look what they did!" and 
more of a "look, it's just a natural function and we shouldn't 
condemn them according to our own ideas of morality."

Even with K. Parr I learned new things (based on evidence, rather 
than speculation or rehashing of old author's speculation) such as 
her role in Henry's invasion of France. And CoA's similar role during 
the earlier one. (Interestingly, Spain was supposedly their ally and 
both times sold them out to France. It made me wonder why Henry would 
even think of depending on them as an ally.)

I've also been amazed at Starkey's willingness to say "I learned this 
that I didn't know when I was writing X book on the subject." That 
seems to me to be a willingness to be convinced by newer and better 
evidence as opposed to many writers who seem to stick to old theories 
even when presented with solid evidence that debunks them.

But then, I've only read 3 of Starkey's books (and Hope has given me 
a list of several more than I didn't know about. I wonder if it's too 
late to put them on my birthday wish list?)

Kat
<kat@redtrollforge.com>


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Sarah wrote:
> I don't have any idea if Starkey is right in his assumption that the 
> sitter is KP, but he has got some valid arguments and KP fits squarely 
> into that time frame as a possibility.  But I'd also have to wonder if 
> the woman in the painting isn't KP's mother, or another close female 
> relative that might have had a connection with the pearls.

The argument I'd make for it not being her mother is that a portrait was 
traditionally done for an event like a wedding. And, I suppose, a 
portrait of a Queen (though she would not have been queen at that time) 
would perhaps be more likely to be preserved and handed down to future 
generations. I don't know enough about the history of portraiture to 
date, more precisely, when portraits of English royalty began to be used 
in more complicated ways. Certainly Elizabeth was adept at using her 
image for political purposes, both by giving away portraits and by 
having herself portrayed in many ways and forms. Who knows, maybe she 
learned some of that at Katherine's knee!

On the question of dating based on the headdress--is it really so far 
out of line for late 1520s? When you look at non-royal images, 
especially those outside London, (funeral brasses, too, though they are 
more bound by conventions than portraits) the fashions seem to trail by 
a wide margin.

- Hope

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Subject: [h-cost] looking for a painting
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I need to find a painting pretty quick that is similar to this one, in that
the lady is wearing one of these pearled partlets.  The one in particular
that I am looking for the lady is wearing a necklace of simple garnet beads
with a large pendent.  I've made the partlet, and would like to have a
necklace similar to the garnet one, but can't for the life of me remember
what the pendent was or what it looked like.

Thanks for any help
Cyn

http://cgfa.sunsite.dk/c/p-clouet5.htm


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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: [h-cost] Mid 18th c. busks and stomachers
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Hi all,

I am grappling with the joys of my mid 18th c. stays, and I am
searching for pictures of busks of this period. And not finding any...

I am making my stays front lacing, to aid getting in and out of it,
which I think was reasonably common practise judging from my research
so far, and there seemed to be a pocket behind the lacing for the busk
in a number of these. All the references I have seen so far on this
point suggest that it was triangular in cross section, with, I presume
the flat edge to the skin. But I suspect, however that this may derive
from Jean Hunnisset's book, and I am not sure of her sources on this.
Can anyone point me to some, please?

Also, I shall be stiffening my stomacher with a layer of buckram; do I
need to add more strength to this, say some of the Wissner boning I am
using for my stays?

thanks and best wishes
Stevie

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Subject: Re: [h-cost] Mid 18th c. busks and stomachers
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Stevie Gamble <stevie.gamble@btinternet.com> said:
> I am making my stays front lacing, to aid getting in and out of it,
> which I think was reasonably common practise judging from my research
> so far,

Hi Stevie,

     Please tell me why you think this was common!  From what I've seen, back-
lacing stays are the norm.  Yes, we find them less-than-convenient today. :-)  
There are a few sets of extant stays that are both front and back lacing, and 
the back laces appear to be the way they were put on (the holes are more worn 
on the back).  I think there are only one or two sets of front-only lacing 
stays around, they appear to be very rare.

     This includes strapless "common" stays that are found in some museum 
collections, they are also most commonly back-lacing.

     Thanks!
     -Carol

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Hi
I uploaded 3 different ways to make picots in needlelace for edging ruffs.
There also is a picture of a real ruff from about 1600 i would share with you. It is a picture from my danish textile history society.
http://www.my-drewscostumes.dk/picots.htm

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Dear Stevie.
It is fine to make your stay to be laced in front also. It is known. 
But i am a little confused, because if your stays are open in the front, then you wont be able to make a pocket for the busk. The pocket should be sewed to both ends in the front then, and that is imposible. You cant open your stays in the front then. (or am i making a mistake)
Another thing i would say is, that you really dont need to have a busk in your stays. This boning you are using, is very nice, and dont need any more stiffening. If you want to use a busk, then the pocket is sewed inside the stays center front along one of the boning channels.
 
Bjarne





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Subject: Re: [h-cost] Mid 18th c. busks and stomachers
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When you say you are lacing your stays up the front, do you mean over a 
stomacher? This is OK but they usually lace up the back too. I don't think you need 
a busk especially if there is a stomacher in front. Just make the stomacher 
very stiff [completely boned] perhaps putting some horizontal bones across the 
bust. This will round out the bust nicely.
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Subject: Re: [h-cost] picots for ruffs
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Bjarne!!

Awesome, a pic is worth a bunch of words...thanks so much for sharing 
this...the light bulb just went - AHHHHH!!!!

Theresa Eacker

Bjarne og Leif Drews wrote:
> Hi
> I uploaded 3 different ways to make picots in needlelace for edging ruffs.
> There also is a picture of a real ruff from about 1600 i would share with you. It is a picture from my danish textile history society.
> http://www.my-drewscostumes.dk/picots.htm
> 
> Bjarne
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
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Subject: Re: [h-cost] picots for ruffs
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Ah, Bjarne, you're a blessing to costumers world-wide. I always enjoy 
reading your posts and drooling at your latest projects.
I've tried the first kind of picot, as a future edging for the neckline 
of a 16th-century shift.  It works quite well as long as my thread is 
thick enough--the embroidery for the sleeves was done with one thread, 
but I found I had to use 2 threads for a good picot loop.
The ruff is just plain yummy.
--sue, who's sitting here on a Friday evening, listening to a lovely 
Jazz & Pop program on our local public radio station and contemplating 
cleaning enough of my little living room to be able to lay out fabric 
for my new garb this weekend, and I'm endlessly enjoying the wonder of 
being able to click on a little line of typing and instantly connect 
with a computer in Denmark, which is so many 1000s of miles away!


Bjarne og Leif Drews wrote:

> Hi
> I uploaded 3 different ways to make picots in needlelace for edging ruffs.
> There also is a picture of a real ruff from about 1600 i would share with you. It is a picture from my danish textile history society.
> http://www.my-drewscostumes.dk/picots.htm
> 
> Bjarne
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] picots for ruffs
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Truly, we are living in an Age of Miracles.
-Thanks for reminding me!
Betsy; who's also having a (mentally) odd evening...

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Sue Clemenger
Sent: Friday, February 27, 2004 10:47 PM
To: Historical Costume
Subject: Re: [h-cost] picots for ruffs

Ah, Bjarne, you're a blessing to costumers world-wide. 

--sue, who's sitting here on a Friday evening, listening to a lovely 
Jazz & Pop program on our local public radio station and contemplating 
cleaning enough of my little living room to be able to lay out fabric 
for my new garb this weekend, and I'm endlessly enjoying the wonder of 
being able to click on a little line of typing and instantly connect 
with a computer in Denmark, which is so many 1000s of miles away!



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From h-costume-bounces@indra.com  Sat Feb 28 04:01:21 2004
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] picots for ruffs
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>There also is a picture of a real ruff from about 1600 i would share with 
>you. It is a picture from my danish textile history society.
>http://www.my-drewscostumes.dk/picots.htm

Thank you so much for this image of the ruff.  I had always suspected that 
these were tightly gathered and then shaped, but here is one to prove that 
at least somebody did it that way.  I got the idea from looking at how the 
16th century ones always got thinner right at the neck, and from those 
images of Mary Queen of Scots where the ruff looked different one side from 
the other and, from the side, appeared to be gathered super-tightly into 
toe top of a shirt neckband.  I feel much better now.  Thank you again.

17th century "mill wheel" ruffs may well be made by pleating material onto 
a neckband, since they seem the same thickness at the neck and at the 
outside edge.


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

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From h-costume-bounces@indra.com  Sat Feb 28 15:05:49 2004
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Subject: [h-cost] Odd costume-related question
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I'm on a baby-wearing bulletin board and one of the forums discusses 
tradtional forms of babywearing (putting baby in a shawl, sarong, 
structured carrier, etc). Recently the question of traditional forms of 
baby carrying in Early Modern Europe has come up, and all that has been 
found is the Welsh method of carrying baby in a shawl or rectangular cloak.

I have read about Highland Scots and Irish women doing a similar thing, 
but it was a long time ago and now I'm not so sure about the scholarship 
of the book involved, so I've been loath to mention it.

On top of this mystery, I tossed the following into the discussion today:
"All this makes me wonder what sort of babywearing/carrying solution was 
used by the colonists in the New World (we're talking poorer people, who 
lived in remote places, usually former indentured servants, usually only 
a husband/wife and children, not necessarily townspeople) during the 
17th and 18th centuries...

I used to reenact F&I period (mid 18th century, during the French and 
Indian wars), but I didn't have a child, so I didn't give it much 
thought. Come to think of it, when I was researching costume, I never 
saw references to such a thing, except among slaves and native people. :/ "

So, has anyone out there seen references to shawls or other accessories 
being used to carry baby in either Early Modern Europe or the Colonies?

M.

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Subject: Re: [h-cost] Mid 18th c. busks and stomachers
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Carol wrote:

> > I am making my stays front lacing, to aid getting in and out of
it,
> > which I think was reasonably common practise judging from my
research
> > so far,
>
> >
>      Please tell me why you think this was common!  From what I've
seen, back-
> lacing stays are the norm.  Yes, we find them less-than-convenient
today. :-)
> There are a few sets of extant stays that are both front and back
lacing, and
> the back laces appear to be the way they were put on (the holes are
more worn
> on the back).  I think there are only one or two sets of front-only
lacing
> stays around, they appear to be very rare.


Well, the three sets of 18th century women's English stays shown on
pages 130-131 of 'Fashion', Kyoto Costume Institute are all front
lacing, which appears perfectly logical given the different structure
of the robe a l'anglaise. The last thing one would want is to spoil
the line of those immaculate, unwrinkled, tight bodices with the
perfect symmetry of the seams, by having the bulging of the laces
underneath them. Front laced stays would keep any bulges  hidden under
the stomacher. And whilst the Kyoto collection is a wide ranging one,
it seems improbable that it has managed to acquire the only three
front lacing 18th century English women's stays in existence...

best wishes
Stevie



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Date: Sat, 28 Feb 2004 17:29:20 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Mid 18th c. busks and stomachers
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Hi Stevie,

      Are the stays in the Kyoto book all front-lacing only, or front 
and back lacing?  I can't get at my copy of the book easily right now.

      The laces used for 18thC stays were most likely flat woven tape, 
and the lacing holes in extant stays are fairly small, so not enough 
to create bulges.  Also the stays are laced with one tape, in a 
spiral, which would also keep the tape flat & not bulging.

      More examples of stays can be found in Corsets & Crinolines, and 
also there are several pictured on the web these days from museum 
collections.  You may also want to check out the 18cWoman list, which 
is a Yahoogroup.  There have been many discussions of 18thC stays on 
that list.

      -Carol


>Well, the three sets of 18th century women's English stays shown on
>pages 130-131 of 'Fashion', Kyoto Costume Institute are all front
>lacing, which appears perfectly logical given the different structure
>of the robe a l'anglaise. The last thing one would want is to spoil
>the line of those immaculate, unwrinkled, tight bodices with the
>perfect symmetry of the seams, by having the bulging of the laces
>underneath them. Front laced stays would keep any bulges  hidden under
>the stomacher. And whilst the Kyoto collection is a wide ranging one,
>it seems improbable that it has managed to acquire the only three
>front lacing 18th century English women's stays in existence...
>
>best wishes
>Stevie
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Subject: Re: [h-cost] Mid 18th c. busks and stomachers
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In a message dated 2/28/2004 3:53:23 PM Eastern Standard Time, 
stevie.gamble@btinternet.com writes:

> Well, the three sets of 18th century women's English stays shown on
> pages 130-131 of 'Fashion', Kyoto Costume Institute are all front
> lacing, which appears perfectly logical given the different structure
> of the robe a l'anglaise. 

Indeed. But didn't you just say you were making 18th century stays? [Sorry, 
don't have your original post.] These are late in the century and I think they 
are transitional garments and not representative of typical 18th century stays 
or even typical late 18th century stays. Yes, the Kyoto may have 3 of them 
[did they come from the same source?] but I'll bet they don't even represent the 
norm in 18th century stays at the Kyoto.

That being said.....you do have good research to back up your front lacing 
stays and I say go for it! But I don't think they are typical.
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Subject: [h-cost] Fabric Question
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Hello all

I would like a second, or third opinion on a fabric.  It's at:

http://store.yahoo.com/phoenixtextiles/ua-107.html

I am thinking of making a Houp (?) out of this.  I'm not looking for perfect
period, it's for the SCA.  But I want to be sure I am in the ball park.  And
textile patterns is not my strong suit.   So what does everyone think?

Stephen Bergdahl - Lord Vich

"This ring, no other, is made by the elves,
Who'd pawn their own mother to grab it themselves.
Ruler of creeper, mortal, and scallop,
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The Power almighty rests in this Lone Ring.
The Power, alrightly, for doing your Own Thing.
If broken or busted it cannot be remade
If found, send to Sorhed (the postage is prepaid)."

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> I would like a second, or third opinion on a fabric.  It's at:
> 
> http://store.yahoo.com/phoenixtextiles/ua-107.html
> 
> I am thinking of making a Houp (?) out of this. 

It's not too bad.  My own choice would be for richer colors, but the 
design is regular and stylized, which is a big plus, and unlike many 
available weaves.

Keep in mind that you'll need a lot of it!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Vote early, vote often!
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Stephen Bergdahl wrote:

> Hello all
> 
> I would like a second, or third opinion on a fabric.  It's at:
> 
> http://store.yahoo.com/phoenixtextiles/ua-107.html
> 
> I am thinking of making a Houp (?) out of this.  I'm not looking for perfect
> period, it's for the SCA.  But I want to be sure I am in the ball park.  And
> textile patterns is not my strong suit.   So what does everyone think?
> 

It's a plausibly period fabric design and colour, though the red is not 
one I would choose to wear, just not my color. I think it would look 
nice with a light (non-metallic) gold or cream contrasting lining.  The 
fabric is cotton, at least it is a natural fiber and should be somewhat 
comfortable. At 54" the width is going to let you get nice wide sleeves 
and skirts out of it without too much piecing.



Dawn



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Subject: [h-cost] men's late fifteen hundreds
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My husband has volunteered me to help a friend with a man's 1500s costume
for the St. Louis Ren Faire. Menswear in this late period is not something I
know a lot about.
So, I believe he is middle to upper class. This is his first time and I
don't think he cares about authenticity just that it blends in with the
other costumes. The SLRF though is trying to be more authentic in the
costuming area. I will see if he wants to get more specific
(German,Italian....)
But what I need is possible patterns. Pretty much anything you think can
help in getting this pulled together by May.
Shirt is not a problem. It will most likely be cotton unless he real wants
the linen. eggshell in color, basically not a brilliant white.
Hose - anyone have a suggestion for a pattern.
jerkin -
short poofypants-(can't think of the correct name right now)
shoes- china shoes or I know of a few websites if he can afford it.

Thank you, Thank you very, very much,
De
Now I need to go have a long talk with my husband about volunteering me
before asking. :}

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Subject: [h-cost] Swedish 1528
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Found this on late swedish

http://www.frazzledfrau.glittersweet.com/1528margwasastockholm.html

De

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Subject: RE: [h-cost] Fabric Question
Date: Sun, 29 Feb 2004 04:07:05 -0600
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I agree with the gold but I was thinking maybe an old gold lining (of coarse
that is personal preference. I think the material squeaks by for a
houppelaude. Just a thought, if you get the material, try it with the
pattern upside-down giving it a sort of weird ermine tail design.
On a personal note, I don't know why but the circle spots on the bottom of
each design screams to me pearls, must put pearl in this spot.:)
De

<It's a plausibly period fabric design and colour, though the red is not
one I would choose to wear, just not my color. I think it would look
nice with a light (non-metallic) gold or cream contrasting lining.  The
fabric is cotton, at least it is a natural fiber and should be somewhat
comfortable. At 54" the width is going to let you get nice wide sleeves
and skirts out of it without too much piecing.

Dawn




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otsisto wrote:

> I agree with the gold but I was thinking maybe an old gold lining (of coarse
> that is personal preference. I think the material squeaks by for a
> houppelaude. Just a thought, if you get the material, try it with the
> pattern upside-down giving it a sort of weird ermine tail design.
> On a personal note, I don't know why but the circle spots on the bottom of
> each design screams to me pearls, must put pearl in this spot.:)

Upside-down is interesting.  Before you pearl the whole thing, you might 
want to see if you can find examples of that sort of beading on fabric.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Vote early, vote often!
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Carol wrote:

>       Are the stays in the Kyoto book all front-lacing only, or
front
> and back lacing?  I can't get at my copy of the book easily right
now.
>

The three English stays I cited are all front lacing only; the one on
page 126 are laced front and back, and the one on page 127 is back and
sides.

>       The laces used for 18thC stays were most likely flat woven
tape,
> and the lacing holes in extant stays are fairly small, so not enough
> to create bulges.  Also the stays are laced with one tape, in a
> spiral, which would also keep the tape flat & not bulging.

Yes; I'd gathered this. On the other hand, given the difficulties
another list member has had in getting the tight unwrinkled effect, I
would prefer to eliminate the possibility altogether.

>
>       More examples of stays can be found in Corsets & Crinolines,

Corsets and Crinolines was published in 1954, and whilst I have great
regard for Norah Waugh's research, I don't propose to rely on
conclusions reached over 50 years ago...
Incidentally, Garsault asserts, in 'Description des Artes et Metiers',
Paris, 1769, in his observations on stay makers, that English stays
(corps a l'anglaise) lace in front, and he gives a diagram. I'm not
sure why you consider Garsault to have been mistaken; can you explain,
further, please?

best wishes
Stevie


> >Well, the three sets of 18th century women's English stays shown on
> >pages 130-131 of 'Fashion', Kyoto Costume Institute are all front
> >lacing, which appears perfectly logical given the different
structure
> >of the robe a l'anglaise. The last thing one would want is to spoil
> >the line of those immaculate, unwrinkled, tight bodices with the
> >perfect symmetry of the seams, by having the bulging of the laces
> >underneath them. Front laced stays would keep any bulges  hidden
under
> >the stomacher. And whilst the Kyoto collection is a wide ranging
one,
> >it seems improbable that it has managed to acquire the only three
> >front lacing 18th century English women's stays in existence...
> >
> >best wishes
> >Stevie
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Sun, 29 Feb 2004 14:33:22 +0100
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Subject: [h-cost] 18th century style
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I want to come with my arguments here two,
In a book i have called Moden i 1700 ĺrene written by a very skilled knowledged lady, (fashion in the 1700 years) she writes that corsets were made in two fashions. English fashion laced center front and french fashion laced center back, and then some had both with a seperate stomacher front.
This is a huge book wich tell very detailed of all the knowns fashions in 18th century. And i surely trust her.
So Stevie, there is absolutely nothing wrong in making a corset laced center front.
Go for it!

Bjarne   





Leif og Bjarne Drews
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http://home0.inet.tele.dk/drewscph/
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At my other homepage i have a pattern of a pair of 18th century stays wich are laced center front and center front.
It has a separate stomacher two.
http://home0.inet.tele.dk/drewscph/underpinnings_.htm
If you scroll down on the buttom of the side.
The tabs and the little hip roll are made of white kit.




Leif og Bjarne Drews
www.my-drewscostumes.dk

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Date: Sun, 29 Feb 2004 08:21:06 -0600
Subject: Re: [h-cost] men's late fifteen hundreds
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For just your basic, 'looks good, not necessarily period' look I'd go
with Simplicity pattern #5574. Probably easy to make, has all the
required pieces and can be gussied up or stripped down for various social
levels. Of course the Cadillac of Elizabethan patterns is Margo
Anderson's set, but I'm not sure how involved you want to get.

http://www.simplicity.com/index.cfm?cat=4&type=19&sec=0&id=63


Just my tuppence,


Karen




On Sun, 29 Feb 2004 01:52:43 -0600 "otsisto" <otsisto@socket.net> writes:
> 
> My husband has volunteered me to help a friend with a man's 1500s 
> costume
> for the St. Louis Ren Faire. Menswear in this late period is not 
> something I
> know a lot about.
> So, I believe he is middle to upper class. This is his first time 
> and I
> don't think he cares about authenticity just that it blends in with 
> the
> other costumes. The SLRF though is trying to be more authentic in 
> the
> costuming area. I will see if he wants to get more specific
> (German,Italian....)
> But what I need is possible patterns. Pretty much anything you think 
> can
> help in getting this pulled together by May.
> Shirt is not a problem. It will most likely be cotton unless he real 
> wants
> the linen. eggshell in color, basically not a brilliant white.
> Hose - anyone have a suggestion for a pattern.
> jerkin -
> short poofypants-(can't think of the correct name right now)
> shoes- china shoes or I know of a few websites if he can afford it.
> 
> Thank you, Thank you very, very much,
> De
> Now I need to go have a long talk with my husband about volunteering 
> me
> before asking. :}
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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In a message dated 2/29/2004 8:27:58 AM Central Standard Time, 
seamstrix@juno.com writes:
For just your basic, 'looks good, not necessarily period' look I'd go
with Simplicity pattern #5574. Probably easy to make, has all the
required pieces and can be gussied up or stripped down for various social
levels. Of course the Cadillac of Elizabethan patterns is Margo
Anderson's set, but I'm not sure how involved you want to get.


I have a suggestion for a nice middle ground ::smile:: - Fantasy Fashions' 
"Dashing Doublet" and "Paned Breeches" patterns.  The benefits to them are the 
patterns are period-accurate so you won't have to worry about whether he fits 
in; they're *extremely* simple to make and fit (and do not waste fabric as many 
of the commercial patterns do); and to me FF patterns are a great investment 
because they are made out of heavy weight paper, not tissue, so they *last*.

They can be purchased at Grannd Garb and many other places online.  
Fantasy Fashions: Grannd Shoppes
-Tiffany
Reflections*of*Worth
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> For just your basic, 'looks good, not necessarily period' look I'd go
> with Simplicity pattern #5574. 

and

> I have a suggestion for a nice middle ground ::smile:: - Fantasy Fashions' 
> "Dashing Doublet" and "Paned Breeches" patterns.  


I'll second both suggestions. They will both get your husband a nice 
'renfest' late 1500's outfit. I'd also like to add the url to my pattern 
reviews, which gives you an idea of which other major commercial 
patterns you can pull pieces from: (and which to avoid)

www.reddawn.net/costume/costpat.htm

Shirt you said you had covered. Hose I would buy, unless you really 
enjoy sewing bias or stretchy material. If you want to make them, look 
in the sports patterns for women's excercise tights or something 
similar. Shoes, I'd suggest crawling thrift shops and the discount shoe 
places looking for low, square-toed or round-toed dress shoes. They'll 
be easier on the feet than the china flats. Also, if he is going upper 
class, he will need a hat.



Dawn



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Albert wrote:

> > Well, the three sets of 18th century women's English stays shown
on
> > pages 130-131 of 'Fashion', Kyoto Costume Institute are all front
> > lacing, which appears perfectly logical given the different
structure
> > of the robe a l'anglaise.

> Indeed. But didn't you just say you were making 18th century stays?
[Sorry,
> don't have your original post.] These are late in the century and I
think they
> are transitional garments and not representative of typical 18th
century stays
> or even typical late 18th century stays.
> Yes, the Kyoto may have 3 of them
> [did they come from the same source?] but I'll bet they don't even
represent the
> norm in 18th century stays at the Kyoto.
>
> That being said.....you do have good research to back up your front
lacing
> stays and I say go for it! But I don't think they are typical.


Well, looking at the English stays the centre one is said to have
probably been altered from a mid-18th century garment, and the other 2
are dated 1785 and 1790 respectively.

The 1760 french pair of stays on page 126 lace front and back, and the
other pair, described early 18th century, on page 127 are side and
back lacing. Even if we take only the 2 French garments we can hardly
suggest that this supports the thesis that stays were only backlacing.
The odd looking 'corset' on page 129 has no provenance or origin
given, and is dated 1760-1770, and even that one appears to do up most
of the way down the front, as well as being laced down the back.

Garsault's front lacing corps a l'anglaise pattern was printed in
1769, which suggests that French tailors had been making front lacing
stays long before the late 18th century, and regarded them as English
in origin. One cannot judge what is 'typical' without reviewing a full
range of representative garments, and even then there would be major
problems. How do we establish our sample range in the first place?

Remember, I am interested in English stays of a particular period; an
aristocratic Englishwoman with fashionable pretentions might well
have bought stays in Paris, particularly if she was paying for new
gowns to be made also, but that's the limit of the known world as far
as fashion was concerned.  Particularly when attending a Ball in Bath,
fashionable Mecca for the upper classes...

thanks and best wishes
Stevie


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Status: RO

Mmmm...don't think so.  I've never seen a pattern anything like that in 
art from the period in which one sees houpelandes.  Some brocades and 
such, sure, but not something that looks (at least to my eyes) more like 
a stylized palm tree.  Patterned fabrics are hard to get "right," so you 
might go with a plain color--a wool, maybe? since you can sometimes find 
them pretty cheaply this time of year, and they'd be more appropriate 
for a houp.
--sue (Mst. Maire in the SCA)

Stephen Bergdahl wrote:

> Hello all
> 
> I would like a second, or third opinion on a fabric.  It's at:
> 
> http://store.yahoo.com/phoenixtextiles/ua-107.html
> 
> I am thinking of making a Houp (?) out of this.  I'm not looking for perfect
> period, it's for the SCA.  But I want to be sure I am in the ball park.  And
> textile patterns is not my strong suit.   So what does everyone think?
> 
> Stephen Bergdahl - Lord Vich


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To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Mid 18th c. busks and stomachers
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Status: RO

>Yes; I'd gathered this. On the other hand, given the difficulties 
>another list member has had in getting the tight unwrinkled effect, 
>I would prefer to eliminate the possibility altogether.

      I thought she had trouble with the gown not being smooth all 
over, not lumps caused by the lacing.

>Corsets and Crinolines was published in 1954, and whilst I have 
>great regard for Norah Waugh's research, I don't propose to rely on 
>conclusions reached over 50 years ago...

      I wasn't looking at conclusions so much as the extant examples 
that the pattern drafts were made from.

>Incidentally, Garsault asserts, in 'Description des Artes et 
>Metiers', Paris, 1769, in his observations on stay makers, that 
>English stays (corps a l'anglaise) lace in front, and he gives a 
>diagram. I'm not sure why you consider Garsault to have been 
>mistaken; can you explain, further, please?

      Some of the diagrams can be unclear, depending on the size & 
printing, but I thought the diagram showed it to be both front & back 
lacing.

>Even if we take only the 2 French garments we can hardly suggest 
>that this supports the thesis that stays were only backlacing.

      I don't think anyone said they were *only* backlacing, but that 
backlacing stays were the most common.  Front & back lacing existed, 
as did some front-lacing only, but the front lacing only were rare. 
I wondered why you thought front lacing only were the most common.

>One cannot judge what is 'typical' without reviewing a full range of 
>representative garments, and even then there would be major 
>problems. How do we establish our sample range in the first place?

      People have reviewed stays, in books and in collections, and 
they've come to the conclusion about back-lacing stays.  Some of this 
research has been recent, within the past five years, so it's not 
just from 50 years ago.

      -Carol
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Subject: [h-cost] Turkey Red fabrics
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Status: RO

Hey, I was looking at the new Hancock Fabrics
sale flyer & noticed that they are advertising a new
line of historical fabrics with Turkey Red and
walnut brown colors. They are advertising them
as 1850-1880s patterns.

Since this is not my area of expertise, any
opinions on the historical accuracy of these
patterns and / or colors from those who know?

To see them, go to Hancock Fabrics
http://www.hancockfabrics.com
and put the word "archive" in the search box
at the top of the page.

Sheryl N-D


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Status: RO

Stephen-

Nice to hear from you!!! Re the brocade: its description is billed as 
heavyweight -  I'd been concerned about the accumulated tonnage of the 
garment with that fabric done up in a houpelande.  Do you think the houp 
would fall into nice folds with such a dense textile? I'd also wonder 
about being able to move about.  Can you get a swatch before committing 
to the goods?

Either way, let us know what you decide!!!

Theresa Eacker

Dawn wrote:
> Stephen Bergdahl wrote:
> 
>> Hello all
>>
>> I would like a second, or third opinion on a fabric.  It's at:
>>
>> http://store.yahoo.com/phoenixtextiles/ua-107.html
>>
>> I am thinking of making a Houp (?) out of this.  I'm not looking for 
>> perfect
>> period, it's for the SCA.  But I want to be sure I am in the ball 
>> park.  And
>> textile patterns is not my strong suit.   So what does everyone think?
>>
> 
> It's a plausibly period fabric design and colour, though the red is not 
> one I would choose to wear, just not my color. I think it would look 
> nice with a light (non-metallic) gold or cream contrasting lining.  The 
> fabric is cotton, at least it is a natural fiber and should be somewhat 
> comfortable. At 54" the width is going to let you get nice wide sleeves 
> and skirts out of it without too much piecing.
> 
> 
> 
> Dawn
> 
> 
> 
> _______________________________________________
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> 


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In a message dated 2/29/2004 11:19:45 AM Eastern Standard Time, 
stevie.gamble@btinternet.com writes:

> The odd looking 'corset' on page 129 has no provenance or origin
> given, and is dated 1760-1770, and even that one appears to do up most
> of the way down the front, as well as being laced down the back.
> 

I think the front lacings here are decorative and not functional.

And like I said, there's nothing to stop you from making front lacing stays 
which clearly exist in the period you're doing. I still think that back lacing 
is the norm. But I'm not arguing, y'know. Just sorta playing devil's advocate. 
Keeps the discussion, which is interesting, going.
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Subject: Re: [h-cost] Turkey Red fabrics
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In a message dated 2/29/2004 4:14:45 PM Eastern Standard Time, 
sherylnd@kc.rr.com writes:

> http://www.hancockfabrics.com
> 

I like 17666B a lot.

I wish someone would do some spacious prints. Everything is so dense!
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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] Mid 18th c. busks and stomachers
Date: Sun, 29 Feb 2004 17:34:01 -0500
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May be OT, but I have a volume entitled "The Corset and the Cronoline", a
book of modes and costumes, by W.B.L.,Ward, Lock, and Tyler; circa 1868-70.
>From my previous perusals of it, I feel that this was a major reference for
the earlier periods (up to 1870) that Nora Waugh used as background for her
book on "C&C".  I guess I should put some time in trying to see what
references were being cited. Much of the writing seems to quote visual as
well as investigative (what ever that might mean in the 19th C1) evidence.
Since the writer was closer to a time when he/she might have actually seen
corsets from the 18th C, it id worth the further gander...
Kathleen
----- Original Message ----- 
From: "Carol Kocian" <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, February 29, 2004 12:46 PM
Subject: Re: [h-cost] Mid 18th c. busks and stomachers


> >Yes; I'd gathered this. On the other hand, given the difficulties
> >another list member has had in getting the tight unwrinkled effect,
> >I would prefer to eliminate the possibility altogether.
>
>       I thought she had trouble with the gown not being smooth all
> over, not lumps caused by the lacing.
>
> >Corsets and Crinolines was published in 1954, and whilst I have
> >great regard for Norah Waugh's research, I don't propose to rely on
> >conclusions reached over 50 years ago...
>
>       I wasn't looking at conclusions so much as the extant examples
> that the pattern drafts were made from.
>
> >Incidentally, Garsault asserts, in 'Description des Artes et
> >Metiers', Paris, 1769, in his observations on stay makers, that
> >English stays (corps a l'anglaise) lace in front, and he gives a
> >diagram. I'm not sure why you consider Garsault to have been
> >mistaken; can you explain, further, please?
>
>       Some of the diagrams can be unclear, depending on the size &
> printing, but I thought the diagram showed it to be both front & back
> lacing.
>
> >Even if we take only the 2 French garments we can hardly suggest
> >that this supports the thesis that stays were only backlacing.
>
>       I don't think anyone said they were *only* backlacing, but that
> backlacing stays were the most common.  Front & back lacing existed,
> as did some front-lacing only, but the front lacing only were rare.
> I wondered why you thought front lacing only were the most common.
>
> >One cannot judge what is 'typical' without reviewing a full range of
> >representative garments, and even then there would be major
> >problems. How do we establish our sample range in the first place?
>
>       People have reviewed stays, in books and in collections, and
> they've come to the conclusion about back-lacing stays.  Some of this
> research has been recent, within the past five years, so it's not
> just from 50 years ago.
>
>       -Carol
> _______________________________________________
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>
>

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Subject: Re: [h-cost] Turkey Red fabrics
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Sheryl Nance-Durst wrote:

> 
> Since this is not my area of expertise, any
> opinions on the historical accuracy of these
> patterns and / or colors from those who know?
> 

Comparing them to swatches in the book "Dating Fabrics: a color guide 
1800-1960" my opinion is that they look generally ok for printed fabrics 
of the period. However the color seems a touch too purple and not enough 
orange-red, maybe it's my monitor. While the book shows a number of 
densely printed patterns like these, there are also a good number 
(equal or greater) of samples with more spacious prints, not so tightly 
designed.

The website says nothing about the origin of these fabrics. Have you 
seen them in the stores? Do you know who the manufacturer is? There is a 
demand among quilters for authentic repro prints. From time to time 
fabric manufacturers will reproduce a historic collection, and they 
usally advertise the source in order to promote the line. Hancock 
Fabrics may not know anything about the line, and I doubt the average 
store clerk will either, but if you can get the MFR name off the bolt 
they might tell you which "archive" they got the prints from.



Dawn



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Subject: Re: [h-cost] Fabric Question
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And I would concur.  I finally sprung for one of the marvelous "waverly"
fabrics from Phoenix, with peacocks, with a Watteau pattern in mind, and it
is going to be "weighty"...but, I hope Beautiful.
Kathleen
----- Original Message ----- 
From: "Theresa Eacker" <theresa@misc.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, February 29, 2004 4:11 PM
Subject: Re: [h-cost] Fabric Question


> Stephen-
>
> Nice to hear from you!!! Re the brocade: its description is billed as
> heavyweight -  I'd been concerned about the accumulated tonnage of the
> garment with that fabric done up in a houpelande.  Do you think the houp
> would fall into nice folds with such a dense textile? I'd also wonder
> about being able to move about.  Can you get a swatch before committing
> to the goods?
>
> Either way, let us know what you decide!!!
>
> Theresa Eacker
>
> Dawn wrote:
> > Stephen Bergdahl wrote:
> >
> >> Hello all
> >>
> >> I would like a second, or third opinion on a fabric.  It's at:
> >>
> >> http://store.yahoo.com/phoenixtextiles/ua-107.html
> >>
> >> I am thinking of making a Houp (?) out of this.  I'm not looking for
> >> perfect
> >> period, it's for the SCA.  But I want to be sure I am in the ball
> >> park.  And
> >> textile patterns is not my strong suit.   So what does everyone think?
> >>
> >
> > It's a plausibly period fabric design and colour, though the red is not
> > one I would choose to wear, just not my color. I think it would look
> > nice with a light (non-metallic) gold or cream contrasting lining.  The
> > fabric is cotton, at least it is a natural fiber and should be somewhat
> > comfortable. At 54" the width is going to let you get nice wide sleeves
> > and skirts out of it without too much piecing.
> >
> >
> >
> > Dawn
> >
> >
> >
> > _______________________________________________
> > 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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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] Turkey Red fabrics
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At 04:37 PM 2/29/04 -0600, you wrote:

>The website says nothing about the origin of these fabrics. Have you seen 
>them in the stores? Do you know who the manufacturer is? There is a demand 
>among quilters for authentic repro prints. From time to time fabric 
>manufacturers will reproduce a historic collection, and they usally 
>advertise the source in order to promote the line. Hancock Fabrics may not 
>know anything about the line, and I doubt the average store clerk will 
>either, but if you can get the MFR name off the bolt they might tell you 
>which "archive" they got the prints from.
>
>Dawn

I saw them in the stores for a few minutes today. Several
of them do seem to be a little more orange-y than the
web site shows. And I think that the patterns are dense
because they are marketing them to quilters.  That was one problem
that I had with them. I really wanted one to be a more widely
spaced roller-print-look so that I could do a late regency day
dress. Anyway...I didn't get a look to see who the manufacturer
was. I'll look for that the next time I'm there.

Sheryl N-D


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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: Re: [h-cost] Mid 18th c. busks and stomachers
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Carol wrote:

> >Corsets and Crinolines was published in 1954, and whilst I have
> >great regard for Norah Waugh's research, I don't propose to rely on
> >conclusions reached over 50 years ago...
>
>       I wasn't looking at conclusions so much as the extant examples
> that the pattern drafts were made from.

Indeed, but by definition a book published 50 years ago, before even
the Kyoto Costume Institute existed, can hardly have reflected the
holdings of that museum. Norah Waugh died in 1966, also long before
the foundation of the KCI.
>
> >Incidentally, Garsault asserts, in 'Description des Artes et
> >Metiers', Paris, 1769, in his observations on stay makers, that
> >English stays (corps a l'anglaise) lace in front, and he gives a
> >diagram. I'm not sure why you consider Garsault to have been
> >mistaken; can you explain, further, please?
>
>       Some of the diagrams can be unclear, depending on the size &
> printing, but I thought the diagram showed it to be both front &
back
> lacing.

No, it doesn't. Incidentally, Norah Waugh gives the diagram etc. of
'corps a l'anglaise' under the heading "Eighteenth-century Tailors'
and Dressmakers' Patterns' at page 107 The Cut of Women's Clothes,
No.12 at the top of the page.

> >Even if we take only the 2 French garments we can hardly suggest
> >that this supports the thesis that stays were only backlacing.
>
>       I don't think anyone said they were *only* backlacing, but
that
> backlacing stays were the most common.  Front & back lacing existed,
> as did some front-lacing only, but the front lacing only were rare.
> I wondered why you thought front lacing only were the most common.

Actually, what I said was 'I think [it] was reasonably common practise
judging from my research so far'.

> >One cannot judge what is 'typical' without reviewing a full range
of
> >representative garments, and even then there would be major
> >problems. How do we establish our sample range in the first place?

>       People have reviewed stays, in books and in collections, and
> they've come to the conclusion about back-lacing stays.  Some of
this
> research has been recent, within the past five years, so it's not
> just from 50 years ago.


My question was as to the statistical basis of any sampling exercise;
peoples' conclusions are not relevant to that question. But I should,
of course, be most interested in any published research you can point
me to on the question of aristocratic womens' stays in England during
the relevant period.

best wishes
Stevie


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] men's late fifteen hundreds
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>Shoes, I'd suggest crawling thrift shops and the discount shoe places 
>looking for low, square-toed or round-toed dress shoes. They'll be easier 
>on the feet than the china flats. Also, if he is going upper class, he 
>will need a hat.

Two things about China Flats.

First; buy them in a size big enough to accommodate cushioned 
insoles.  Bring the insoles with you when you shop.

Second; these shoes, being all cloth on top, can be slip-covered in any 
shape you want, including making flat-soled thigh-high boots or pointy toed 
medievals out of them.  Drape the pattern of the shoe/boot you want over a 
foot wearing the China Flat, then stitch the finished slip-cover right to 
the cloth of the shoe underneath.  Pointy-toed shoes will need additional 
sole leather stitched under the pointy part that hangs over the original 
shoe sole.  Finish off with waterproof glue over this stitching, to protect 
it.  Unless anyone wants to look at the bottoms of your shoes, these will 
look as authentic as real ones.

Slip-covering over cloth-upper tennis shoes makes for a much more 
comfortable shoe to walk all day in.  Cut away any part of the original 
shoe that makes a bulge in the slip-covering, like the lacing grommets or 
the original edge binding.  Start with the cheapest tennis shoes you can 
buy, like from a discount shoe outlet.  If the side of the sole shows too 
badly, overlap the side with the edge of slip-covering, or color with 
Sharpie marker on the exposed part.

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

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Date: Sun, 29 Feb 2004 18:53:39 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Turkey Red fabrics
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>Hey, I was looking at the new Hancock Fabrics
>sale flyer & noticed that they are advertising a new
>line of historical fabrics with Turkey Red and
>walnut brown colors. They are advertising them
>as 1850-1880s patterns.
>
>Since this is not my area of expertise, any
>opinions on the historical accuracy of these
>patterns and / or colors from those who know?

They've had these for a while, and they look good, in person, to me.  I'd 
have to check a swatch out from under their fluorescent lights to be sure.


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

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Portrait of Catherine Parr
Date: Sun, 29 Feb 2004 22:26:32 -0500
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On Friday 27 February 2004 02:45 pm, Hope Greenberg wrote:
[snip]
> On the question of dating based on the headdress--is it really so far
> out of line for late 1520s? When you look at non-royal images,
> especially those outside London, (funeral brasses, too, though they are
> more bound by conventions than portraits) the fashions seem to trail by
> a wide margin.

At this point, I think the consensus is that the headdress is not at all out 
of line for the late 1520s.  The question now is, how strongly does that fact 
indicate that the subject was Catherine Parr.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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On Friday 27 February 2004 12:50 pm, kat@grendal.rain.com wrote:
> > That's really what bugs me about Starkey.  He's very sensationalistic
> > and he makes his subjects sound as though they were nothing more than
> > sex-crazed drama queens.  I can understand wanting to "sex things up"
> > for a modern audience, but to me, Starkey often crosses the line and
> > winds up sounding like a salacious old man who thinks every woman back
> > in the Renaissance was solely concerned with what was going on between
> > her legs.  Either that or they're portrayed as airheads...
>
> Interesting. I just finished Starkey's 6 wives and it was the first
> time I'd seen any of the queens (with the exception of K. Parr)
> depicted as anything but stupid or airhead or sex maniacs.

?????  The only queen I've ever seen depicted as stupid *or* a sex maniac was 
Catherine Howard--who arguably was both anyway.

Either way, though, it sounds like Starkey's Six Wives is worth reading.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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I read his "Elizabeth" and it was horrible. One hopes "Wives" is better.


Bice
> ?????  The only queen I've ever seen depicted as stupid *or* a sex maniac
was
> Catherine Howard--who arguably was both anyway.
>
> Either way, though, it sounds like Starkey's Six Wives is worth reading.
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "Anything's within walking distance if you have the time." -Steven Wright
> _______________________________________________
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In a message dated 2/29/2004 9:32:07 PM Central Standard Time, 
cathy@thyrsus.com writes:
Either way, though, it sounds like Starkey's Six Wives is worth reading.


Absolutely ... I think really anything is worth reading that's about the 
period, to understand the evolution of theory with regard to history, if nothing 
else.  And there are so many different views about almost every topic with 
regard to the Tudors, I think the only way to develop a really balanced opinion, 
is to read 'em all! LOL

-Tiffany
Reflections*of*Worth
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Subject: [h-cost] Popular periods for pearl decorations ?
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Hello

I'm interested in re-creating a gown decorated with pearls.  I realize that
pearls have been very popular for ornaments & jewellery for centuries but am
wondering about periods when they were actually sewn right onto the
garments.  I'm aware of Elizabeth I's love of pearls but what about more
recent times - 18th c (Rococo) or 19th c (bustle-era)?  I know Marie
Antoinette loved pearls but the images I've been able to find of her wearing
pearls always show them used as only jewellery.  If anyone could help me
narrow down the options or maybe even point me to some images I would be
very grateful! (When I google for images of pearls on gowns all I get are
scores of contemporary wedding gowns.)

Thanks

Elizabeth

www.alabasterstyle.com

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Here is my favorite:
http://www.tate.org.uk/magazine/issue4/pearlyqueen.htm

----- Original Message ----- 
From: "Alabaster" <elizabeth@alabasterstyle.com>
To: <h-costume@indra.com>
Sent: Sunday, February 29, 2004 11:38 PM
Subject: [h-cost] Popular periods for pearl decorations ?


> Hello
>
> I'm interested in re-creating a gown decorated with pearls.  I realize
that
> pearls have been very popular for ornaments & jewellery for centuries but
am
> wondering about periods when they were actually sewn right onto the
> garments.  I'm aware of Elizabeth I's love of pearls but what about more
> recent times - 18th c (Rococo) or 19th c (bustle-era)?  I know Marie
> Antoinette loved pearls but the images I've been able to find of her
wearing
> pearls always show them used as only jewellery.  If anyone could help me
> narrow down the options or maybe even point me to some images I would be
> very grateful! (When I google for images of pearls on gowns all I get are
> scores of contemporary wedding gowns.)
>
> Thanks
>
> Elizabeth
>
> www.alabasterstyle.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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Actually I was thinking of a different style of costume, later period than a
houppelaude. I don't recall having seen houppelaudes with pearls. Doesn't
mean that there wasn't just I have not come across them.

De


<Upside-down is interesting.  Before you pearl the whole thing, you might
want to see if you can find examples of that sort of beading on fabric.

--
Cynthia Virtue and/or
Cynthia du Pré Argent

h-costume

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Portrait of Catherine Parr
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On Sunday 29 February 2004 11:32 pm, Tiffsewsstuff@aol.com wrote:
> In a message dated 2/29/2004 9:32:07 PM Central Standard Time,
> cathy@thyrsus.com writes:
> Either way, though, it sounds like Starkey's Six Wives is worth reading.
>
>
> Absolutely ... I think really anything is worth reading that's about the
> period, to understand the evolution of theory with regard to history, if
> nothing else.  And there are so many different views about almost every
> topic with regard to the Tudors, I think the only way to develop a really
> balanced opinion, is to read 'em all! LOL


That's usually what I end up doing with any historical area I become 
interested in--read as much of what's out there as I can get my hands on.  
:-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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On Sunday 29 February 2004 11:15 pm, Bice d'Este wrote:
> I read his "Elizabeth" and it was horrible. One hopes "Wives" is better.
I
I've also read Starkey's "Elizabeth" and, while he's rather rude about 
expressing his opinion, I think most of what he says about her is defensible 
and that it's useful for someone to be saying it so clearly.  

Whether I think he's automatically right about his assessment of her character 
is, of course, another question.  :-)

-- 
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] Fabric Question
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Lord Vich :-)

	Elaine de Montgris heard my "Oh, but it's so Ugly!" and came running out of
her room.  She said to tell you that it was "be you ti full" (we don't share
quite the same esthetic when it comes to orange :-)
	As Elaine does early houpelands and I do late ones (one size fits all - for
another 35 pounds) we also looked at the weight of the fabric and the fact
that it said "dry clean only" and that brought us into agreement that it
wasn't a good choice.  We both feel that it would be too heavy and stiff.

Wanda Pease/Regina Romsey
Never attribute to malice what can as easily
be attributed to simple social ineptness

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Stephen Bergdahl
> Sent: Saturday, February 28, 2004 6:52 PM
> To: Historical Costume
> Subject: [h-cost] Fabric Question
>
>
> Hello all
>
> I would like a second, or third opinion on a fabric.  It's at:
>
> http://store.yahoo.com/phoenixtextiles/ua-107.html
>
> I am thinking of making a Houp (?) out of this.  I'm not looking
> for perfect
> period, it's for the SCA.  But I want to be sure I am in the ball
> park.  And
> textile patterns is not my strong suit.   So what does everyone think?
>
> Stephen Bergdahl - Lord Vich
>


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

DATE: Sat, 28 Feb 2004 14:04:59
From: Maura Folsom <jauncourt@verizon.net>
To: h-costume@indra.com
Cc: 

>I'm on a baby-wearing bulletin board and one of the forums discusses 
>tradtional forms of babywearing (putting baby in a shawl, sarong, 
>structured carrier, etc). Recently the question of traditional forms of 
>baby carrying in Early Modern Europe has come up, and all that has been 
>found is the Welsh method of carrying baby in a shawl or rectangular cloak.


 I  don't know where the website is (iirc I found it by searching for medival clothing children on google) but I recently saw a image on the web that may help.  It was a early Ren. picture of the Flight into Egypt and Mary was carrying baby Jesus in a sling.
The thing that really stuck in my mind is that it looked identical to "tie a knot in a rectangular piece of fabric to make a pocket for the baby" slings used by modern Guatemalan women.  It also looked like the slings that I've improvised using a baby blanket when I've forgotten my sling at home.

This makes me think that with the possible exception of the modern Maya-wrap type slings that baby slings pretty much look the same.

-Katie
who has threatened to enter nursing as a A&S project.


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Hello Elizabeth.
At the exhibition on Castle Rosenborg here in Copenhagen about the Queens Dresses, there  was a kind of Choker or what ever you would call it. A heavily beaded piece to cover the decolletage. It was a piece that Caroline Mathilde actually made herself, she was our queen in 1766.
Many kinds of beads was used in this piece, multi coloured. I also noticed some long beads, like suction pipes.
So it was used in 18th. century.

Bjarne 





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: [h-cost] tudor shoes II
From: Hilary Davidson <hbgd103@soton.ac.uk>
To: Historical Costume <h-costume@indra.com>
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Status: RO

now that I'm with the program and have read the rest of yesterday's 
digest, sorry to double up on Marc's info! I'll go back to lurking in 
my fog of deadlines now....

Cheers,

Hilary

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