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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Photo
Date: Sat, 1 May 2004 01:40:16 -0400
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On Friday 30 April 2004 11:01 am, Dawn wrote:
[snip]

> The style strikes me as about 1890. The bustle is gone, the sleeves are
> high and tight, the decoration of the front bodice and the single skirt
> are appropriate for that time. In a few years more the fashion will get
> puffier -- fuller skirts and big sleeves and hair. I agree that it
> doesn't look like it was made for her, due to the bulge at the hips. So
> she might be wearing a borrowed dress, but if you are going to borrow
> for a (wedding?) photo, why borrow an out of fashion dress? 

Because it's the most expensive dress any of your friends have?

My mother was married in my aunt's wedding dress, which fit well except 
through the bosom (Mom was nearly flat-chested, while my aunt was much better 
endowed), so she wore a bigger bra and they stuffed it with lots of 
Kleenex...

However, I'm inclined to agree that the dress is from the 1890's, either very 
early (when the bustle collapsed but before the big-sleeve craze took hold) 
or very late (at the end of the decade when the sleeves collapsed again).  I 
don't think it's a bustle-era dress because bustle-era dresses tended to have 
extremely fitted bodices, and I'm not sure I believe that a makeover into the 
less fitted style of the 1890's would be successful.  Also, the bustle-era 
day dresses didn't have even that little puff at the top of the sleeve, and I 
think  it's unlikely that a true bustle-era dress would have enough extra 
fabric left over to make one after the fact.


-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Photo
Date: Sat, 1 May 2004 01:47:20 -0400
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On Friday 30 April 2004 06:26 pm, kim baird wrote:
> I respectfully disagree with a date this early on two points: the lack
> of wrist and neck ruffles which were popular until the late 1880's, and
> the lack of an overskirt of any kind (even a false one), again popular
> until the late 1880's.
> Dawn
>
> OK, the overskirt was definitely popular, but not actually required. The
> lack of lace doesn't mean anything--lots of 1880's dresses didn't have
> any at the wrists, or indeed anywhere.

I suppose you could theorize that there *was* once an overskirt but that it 
was removed to make the lower half of that odd long bodice.

I still think it's 1890's because of the sleeves, but I'm always happy to 
listen to counterarguments by the better-informed.

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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After looking at the photo again, I almost see an extension of the hipline
of the jacket which would account for the weird fit.I could presume that
this piece had been added on to accommodate the passamenterie.
Kathleen
----- Original Message ----- 
From: "kim baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Friday, April 30, 2004 10:05 AM
Subject: RE: [h-cost] Photo


>
> BTW, what do you think is causing that wrinkle/bulge in
> Lisa's pic - on the high hip?
>
> -Judy Mitchell
>
> Good question! That's why I think the dress was borrowed or handed down,
> because it doesn't fit. Or else, she is getting fatter or wearing too
> many petticoats--who knows. The tails on the bodice are being spread too
> wide, for whatever reason, that is why it has wrinkled.
>
> Kim
>
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Is it possible she's pregnant?
Kate
***
----- Original Message ----- 
From: <lisa58@juno.com>
To: <h-costume@indra.com>
Sent: Friday, April 30, 2004 9:58 AM
Subject: RE: [h-cost] Photo


>
> Thanks, Kim.  And any thoughts anyone else has are very welcome.
>
> It was also my perception that the dress didn't fit that well, because the
sleeves seem tight and rather short (although I know that the mid-forearm
length might be real).  But it's very likely that she was given the outfit
to put on sepcifically to have the photo done--this was a couple who were
Jewish and poor, I believe.  At any rate, they were poor when they
immigrated to the States.  So that might also explain a dress somewhat out
of date, and it certainly doesn't even look ironed.  I thought that the hip
circumferential "bulge" might represent the skirt waist lying in the wrong
place, maybe she wasn't used towearing clothes like this.
>
> Yours in costuming, Lisa A.
>
> ________________________________________________________________
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>


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This sleeve is interesting indeed...even if it is supposed to be the
chemise.  I have a wedding gown dated 1878 in which the eyelet sleeve is
formed to create this unique 'openwork'. It was formed by butting two edges
of the scalloped hem of the eyelet yardage together. Until I saw this movie
pic, had not encounters the design idea before.
Kathleen
----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: <h-costume@indra.com>
Sent: Friday, April 30, 2004 5:16 PM
Subject: [h-cost] Re: 18th c. sleeve treatment


> Carol wrote:
> Costume designers are notorious for adding somethng "interesting" to
> period designs or using historic sources as inspiration for their
> creativity.
>
> I write:
> This is why I am asking. My limited experience in this era tells me that
it's a designer feature, not a historical one, but I thought I'd ask.
>
> Carol wrote:
> When getting dressed in repro clothes, it's pretty common to have a
> friend pull your shift sleeves down to alleviate the bunching under a
> tight gown or jacket sleeve!
>
> I wrote:
> Been there, done that, had friends help me and my underpinnings into
public bathroom stalls! Also have been the victim of a violent jumping up
and down in a corset to get said sleeves to sit correctly! ;-) Funny the
things we do in order to serve historical vanity...
>
> Cindy wrote:
> I have found out that if you enlarge chemise/shift sleeves on even a
> doll, unless the gown sleeves are full, you have to recut the gown sleeves
> as well as remodel the gown armhole
>
> I wrote:
> I don't think the armscye will need a whole lot of remodelling, I just
think I will have to make the sleeve head a bit deeper to give me more
shoulder space. It's on my bodice, not the shift. The shift hasn't even been
made yet. And luckily the bodice is made from a corded watered moire of
sorts, so there is no real pattern to speak of to match. The interesting
thing about it though, I had the pure luck of having the cording match the
bodice perfectly so that from a distance, the sleeve and bodice look as if
they are cut as one piece. Entirely happenstance, that.
>
>
> Yikes! Seems like my meandering chatter got a few wires crossed. I scoured
the net to find a pic of what I am talking about in the movie:
> http://www.filmmagasinet.no/konkurranser/bilder/2003/Pirates/pirates2.jpg
> Look at her sleeves, there is a line of lacing down the outer arm, from
shoulder to elbow. She is in her chemise/shift, not her outer bodice or
corset.
> I'm wanting to know if this is historically identifiable or is it a detail
the costume designer threw in for visual interest.
>
> I have done at least one dress from most fashion eras, excluding regency
(just looks horrid on me personally and have had no call for it from
customers) and between 1600-1776. It's just that this particular time
period, I have not put tonnes of research time into simply because this was
a one-off thing, and done early on in my costuming career, so following a
pattern and blindly trusting it (which in this case I didn't entirely
anyway, because the historical errors in the pattern jumped out at even me -
which were later corrected with a few quick dives into fashion plate books)
This dress in particular has seen me tugged, squeezed, pushed and squashed
on various occasions, I can put on the dress, it's just that I am not
lifting my arms up very high when I do. Even pushing a curl of hair out of
my eyes is a challenge, so adding a gusset (or making a two-piece sleeve)
seemed like a reasonable thing to do for two reasons: the spare fabric I
have left, I don't think I could recu!
>  t two new
>  complete sleeves from, and the elbow ruffle is sized to fit that hole; it
would be a pain to have to repleat it back onto a new one and still have it
look right. I would likely have to recut that as well, and for the former
reason, I don't think I can do that.
>
> Is gusseting (and adding "fish" into bodice seams for that matter) not a
period practice for alterations in this era?
>
> Sorry for the confusion. This just happens to be an era that I am a bit
ignorant on. I have a closet full of late Vic and Ed and another of 16th c.
that shows where I concentrate my efforts on. It would be nice to complete
this costume down to the underwear finally, should I ever have the need to
wear it again.
>
> My apologies for the rambling chatter.
>
> Kathy
>
>
> An artist's work is an artist's reason for being. ~Cheryl Mandus
>
>
> ---------------------------------
> Post your free ad now! Yahoo! Canada Personals
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPIECCCGAA.otsisto@socket.net>
Subject: Re: [h-cost] Fabric storage
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And you can add cloves to the list. On a cooks-tour through an old house,
found copious amounts of cloves squirreled away in drawers, closets, and
trunks.  At first we thought it was mouse droppings...
Kathleen
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 30, 2004 11:42 PM
Subject: RE: [h-cost] Fabric storage


> I do not have a moth problem but others who have had the problem use.
> Moth balls
> Lavender (the herb)
> Rosemary (")
> mint (")
> Sage (")
> Cedar
> Not necessarily all together.
>
> De
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Kitsune242@aol.com
> Sent: Friday, April 30, 2004 4:09 PM
> To: Historical Costume
> Subject: Re: [h-cost] Fabric storage
>
>
> In a message dated 4/26/2004 10:52:02 PM Eastern Daylight Time,
> kbaird@cableone.net writes:
>
> > Regarding long-term fabric storage, neither plastic nor cardboard is a
> > good idea, UNLESS it is acid-free cardboard. You can buy
> > acid-free
> > storage boxes from a number of sources, including
>
> Unfortunately, for someone who has a problem like I do (we have a Cloth
Moth
> infestation) I can't store my fabric is any other than a plastic bin.
>
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
> Kenneth Cole
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Fabric storage, mothballs for dummies
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In 'Home Trends", the catalogue for the Fullerbrush Company, they have a
specific product for silverfish.  (Also grain moths, which works
wonderfully.)
Kathleen
----- Original Message ----- 
From: "annora" <lisleong@k12.hi.us>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 3:28 AM
Subject: RE: [h-cost] Fabric storage, mothballs for dummies


> > I do not have a moth problem but others who have had the problem use.
> > Moth balls
>
> Clothing moths aren't a problem where I live so I have what will
> probably be a really dumb question to the rest of you.
>
> The set up for the question:  I have a bunch of wool (as in locks of
> fleece, not fabric) for spinning which is being stored in a box.
> Silverfish have moved in so for the first time in my life I bought some
> mothballs with the hope that they would help to get rid of the critters.
> Even if the box doesn't say it's effective against silverfish, I figured
> if it's noxious enough to be dangerous to humans there's a good chance
> it'll kill silverfish too.  Which brings me to the question:
> The box says that the mothballs should only be used in air tight
> containers where the fumes can't escape--no plastic bags or cardboard
> boxes.  Is that the norm for mothballs?  And if so, what kinds of
> containers do you all store things in that are big enough to hold fabric
> or garments and are air tight?
>
> --annora
>
> _______________________________________________
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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] Fabric storage, mothballs for dummies
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Again, the Fullerbrush catalogue has a wonderful array of treatments for all
kinds of closet pests!
We use the electronic device that discourages mice and ants/roaches in our
summer home with some success.
Kathleen
----- Original Message ----- 
From: "Molly Boone" <Rampant_Peacock@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 4:00 AM
Subject: RE: [h-cost] Fabric storage, mothballs for dummies


> well I have a comment and a suggestion.
>
> Comment first - I have this beautiful lot of a golden corduroy material
that
> was given to me after having been stored in mothballs for an extended
period
> of time and I'm having a heck of a time getting the smell out.  Something
to
> think about.  (P.S. anyone with suggestions to get rid of the smell would
> make my life time.)
>
> Suggestion - last year the summer was so warm here in Seattle that, well,
> the spiders got seriously out of hand.  OK out of hand means the regular
> wolf spiders that were entering my home were HUGE.  The things were about
> the diameter of old silver dollars including the legs.  That is a bit more
> than 2 inches across (EEK!).  In desperation I went looking for bug bombs
> for the house, I couldn't find any! What I did find was a small ultrasonic
> device that you just plug into an electrical outlet and the ultrasonic
repel
> all sorts of bugs and rodents.  The ones I have are made by Sunbeam and I
> swear by them.  They don't annoy the cat and it is a lot healthier for her
> and me not to have the chemicals in the house. They might be useable to
> repel the moths and the silverfish.
>
> Molly
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of annora
> Sent: Saturday, May 01, 2004 12:29 AM
> To: Historical Costume
> Subject: RE: [h-cost] Fabric storage, mothballs for dummies
>
>
> > I do not have a moth problem but others who have had the problem use.
> > Moth balls
>
> Clothing moths aren't a problem where I live so I have what will
> probably be a really dumb question to the rest of you.
>
> The set up for the question:  I have a bunch of wool (as in locks of
> fleece, not fabric) for spinning which is being stored in a box.
> Silverfish have moved in so for the first time in my life I bought some
> mothballs with the hope that they would help to get rid of the critters.
> Even if the box doesn't say it's effective against silverfish, I figured
> if it's noxious enough to be dangerous to humans there's a good chance
> it'll kill silverfish too.  Which brings me to the question:
> The box says that the mothballs should only be used in air tight
> containers where the fumes can't escape--no plastic bags or cardboard
> boxes.  Is that the norm for mothballs?  And if so, what kinds of
> containers do you all store things in that are big enough to hold fabric
> or garments and are air tight?
>
> --annora
>
> _______________________________________________
> 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: Penny Roberts <pennyrobertsho@yahoo.com>
Subject: Re: [h-cost] Fabric storage, mothballs for dummies
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"In 'Home Trends", the catalogue for the Fullerbrush Company, they have a
specific product for silverfish. "

Does anyone have the URL for this?  I did not find it looking on line at Fullerbrush...

Thanks


		
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Date: Sat, 1 May 2004 08:55:31 -0500
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I still think it's 1890's because of the sleeves, but I'm always happy
to 
listen to counterarguments by the better-informed.

-- 
Cathy Raymond <cathy@thyrsus.com>



Sleeves are a good indicator, and that little puff at the top probably
means 1890. But early, not late 1890's. Look at her hair, all tight with
those little curls in front.

Kim

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I would like to find some good pictoral examples of upper class girdles
(and footwear) from the early to mid 1500's, such that would be
appropriate for trips to town. Any suggestions on helpful sites? I am
targeting western europe, specifically the Scottish highlands.
Cheers,
Joe


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I have looked and looked and looked, it seems impossible to find a silk taffeta in the grey coulour i need for the courtdress.
I tryed http://www.hyenaproductions.com/index.html
And they have wonderfull produkts, in fact some ot thier striped ones could be the colour i need, but i cant find just solid colours in silk taffeta. I emailed them and asked, but they have not bothered to answer me.
Any chanse any of you know where i could find a light grey colour of taffeta?

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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I've decided to clean out the closet a little, and have put some of my
costumes on Ebay.  This is the first:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=8103184893

If you  are a large man, or know one you want to check this out.  Let me
know if you want to be notified when I put items up.  I am getting rid of a
lot of costumes.

Stephen Bergdahl - Lord Vich

"They moved the Oscars to Sunday, it'll still end on Monday."

    Billy Crystal.



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This was an initial view that I suggested.  I have just spent an hour at the
book shelf and came up with a number of pics from Severa and Dalyrmple and a
couple of other sources that would help me to revise the original opinion re
a '70's/80's dating,(even including a predated pic I have) To1885/90. The
sleeve length puts it squarely in the mid 80's but the tiny cap, at the end
of that decade. The jacket length is somewhat of a puzzler except, if it was
made up by an inexperienced seamstress. I have several resources for
immigrant dress and some of them would point in the direction of
accommodating an ethnic top to a fashionable interpretation.
Kathleen
----- Original Message ----- 
From: "Kate Pinner" <pinner@mccc.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 8:39 AM
Subject: Re: [h-cost] Photo


> Is it possible she's pregnant?
> Kate
> ***
> ----- Original Message ----- 
> From: <lisa58@juno.com>
> To: <h-costume@indra.com>
> Sent: Friday, April 30, 2004 9:58 AM
> Subject: RE: [h-cost] Photo
>
>
> >
> > Thanks, Kim.  And any thoughts anyone else has are very welcome.
> >
> > It was also my perception that the dress didn't fit that well, because
the
> sleeves seem tight and rather short (although I know that the mid-forearm
> length might be real).  But it's very likely that she was given the outfit
> to put on sepcifically to have the photo done--this was a couple who were
> Jewish and poor, I believe.  At any rate, they were poor when they
> immigrated to the States.  So that might also explain a dress somewhat out
> of date, and it certainly doesn't even look ironed.  I thought that the
hip
> circumferential "bulge" might represent the skirt waist lying in the wrong
> place, maybe she wasn't used towearing clothes like this.
> >
> > Yours in costuming, Lisa A.
> >
> > ________________________________________________________________
> > The best thing to hit the Internet in years - Juno SpeedBand!
> > Surf the Web up to FIVE TIMES FASTER!
> > Only $14.95/ month - visit www.juno.com to sign up today!
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> >
> >
>
>
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To: "Historical Costume" <h-costume@indra.com>
References: <20040501132110.37777.qmail@web20504.mail.yahoo.com>
Subject: Re: [h-cost] Fabric storage, mothballs for dummies
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Here it is: www.ShopHomeTrends.comKathleen----- Original Message ----- 
From: "Penny Roberts" <pennyrobertsho@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 9:21 AM
Subject: Re: [h-cost] Fabric storage, mothballs for dummies


>
> "In 'Home Trends", the catalogue for the Fullerbrush Company, they have a
> specific product for silverfish. "
>
> Does anyone have the URL for this?  I did not find it looking on line at
Fullerbrush...
>
> Thanks
>
>
>
> ---------------------------------
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From h-costume-bounces@indra.com  Sat May  1 12:22:36 2004
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From: Sylvia <sylvia@ntw.net>
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Subject: [h-cost] 1880-1890s costume books
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Does anyone have good suggestions for American costume history books
specifically for the 1880s and 1890s?  I have a few already but am going to
be designing some melodramas this summer and always like to find more
research materials.

Sylrog

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Subject: Re: [h-cost] Silk Taffeta (was Hyena Fabrics)
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I recently found this website, I do not know if the grey they offer is the
right one, but they do have samplers:  http://www.supersilk.com/index1.asp

hope this is a help

Sheridan


----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Saturday, May 01, 2004 11:10 AM
Subject: [h-cost] hyena fabrics


Hi,
I have looked and looked and looked, it seems impossible to find a silk
taffeta in the grey coulour i need for the courtdress.
I tryed http://www.hyenaproductions.com/index.html
And they have wonderfull produkts, in fact some ot thier striped ones could
be the colour i need, but i cant find just solid colours in silk taffeta. I
emailed them and asked, but they have not bothered to answer me.
Any chanse any of you know where i could find a light grey colour of
taffeta?

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  Sat May  1 13:39:17 2004
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Silk Taffeta (was Hyena Fabrics)
Date: Sat, 1 May 2004 10:33:04 -0700
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Thai silks has several shades of grey. 
http://www.thaisilks.com/store/merchant.mv?Screen=PROD&Store_Code=TS&Product
_Code=021Y

Oh, and I would not deal with Hyena.  They misrepresent some of their
fabrics and have been down right nasty about it.

Sg




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http://www.anjooriansilks.com/weaves.htm
Whoops, that message went out before I was done.  This is the page that
describes the weaves.  You have to scroll down to find tafetta.

Sg



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What are some of your resources to date?
Kathleen
----- Original Message ----- 
From: "Sylvia" <sylvia@ntw.net>
To: "Historic Costume list" <h-costume@net.indra.com>
Sent: Saturday, May 01, 2004 12:03 PM
Subject: [h-cost] 1880-1890s costume books


> Does anyone have good suggestions for American costume history books
> specifically for the 1880s and 1890s?  I have a few already but am going
to
> be designing some melodramas this summer and always like to find more
> research materials.
>
> Sylrog
>
> _______________________________________________
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References: <000201c42fa2$5c07a9b0$6a01a8c0@SG01>
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So "what's in a name"!
Kathleen
----- Original Message ----- 
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 1:33 PM
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> Thai silks has several shades of grey.
>
http://www.thaisilks.com/store/merchant.mv?Screen=PROD&Store_Code=TS&Product
> _Code=021Y
>
> Oh, and I would not deal with Hyena.  They misrepresent some of their
> fabrics and have been down right nasty about it.
>
> Sg
>
>
>
>
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Subject: Re: [h-cost] 1880-1890s costume books
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> From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Sat, 1 May 2004 14:10:01 -0400
> To: "Historical Costume" <h-costume@indra.com>
> Subject: Re: [h-cost] 1880-1890s costume books
> 
> What are some of your resources to date?
> Kathleen

I just went through them and found I actually have more than I had thought I
did.  They are:
American Victorian Costume in Early Photographs
The Victorian Art World in Photographs
Victorian London Street Life
English Womens Clothing in the 19th Century
Harpers Bazaar 1867-1898
American Mail Order Fashions 1880-1900
Victorian & Edwardian Fashion  A Photographic Survey

I realize some of these are English rather than American fashion books, but
I figure there's not too much, if any difference basically.  If anyone know
of such, please let me know.

I have a few specific questions, if there are any experts out there who want
to share their expertise with me.
1)  Some of the characters are in mourning but also in evening wear.  Would
they be wearing black evening wear that looks the same as other evening wear
except for color?
2)  Would a niece be wearing mourning wear if her aunt died?
3)  Did judges wear robes in the late 1800s similar or exactly like they do
today?
4)  What would a railroad signalman wear?

Thanks in advance for any help you might want to lend.  I really appreciate
it. 

Sylrog 

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Photo
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On Saturday 01 May 2004 09:55 am, kim baird wrote:

>Sleeves are a good indicator, and that little puff at the top probably
>means 1890. But early, not late 1890's. Look at her hair, all tight with
>those little curls in front.

Kim, you may have missed my earlier post, where I said I thought it was either 
early 1890s or  very late 1890s.  I don't know that much about hairstyles of 
the period, so I'm willing to take your word that she's wearing an 1890 
style.

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
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On Saturday 01 May 2004 11:55 am, Lloyd Mitchell wrote:

> The jacket length is somewhat of a puzzler
> except, if it was made up by an inexperienced seamstress. I have several
> resources for immigrant dress and some of them would point in the direction
> of accommodating an ethnic top to a fashionable interpretation.

This possibility would not surprise me.  However, I'm curious; what resources 
do you have for immigrant dress?  My grandparents all came to the US from 
Eastern Europe around 1910-12.

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Sat, 1 May 2004 22:34:01 +0200
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Subject: [h-cost] silk taffeta
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Hi,
Thanks for your help. I just realised that there is not the grey tone that i want. 
Then i have looked at James Hare Silks in England, and they only have one grey wich is two blue.............
The other day i looked at the samplers i have from James Hare, and there was a very light green shade called tint green. When i look at the portrait, i think it is a little green.
But then i looked at the online shop at James Hare, and the shade tint green isnt there anymore.......................
Perhaps it would end up, that i have to change the colour of the dress :-(........................

Bjarne not  in the mood tonight




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: Re: [h-cost] silk taffeta
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Hey Bjarne,

There's a company called C&J Textiles based in New York City that has an
amazing range of silk colors and would probably have what you need.  They
don't have a website and are somewhat pricey (60" silk taffeta is
$16.50/yard), but if you call or write and tell them that you're a
professional costumer (in other words, that you sew for other people) they
will send you their color cards, and then you could mail/phone order what
you need.  Make sure you ask specifically for their taffeta swatch cards, as
the taffeta isn't on their general silk swatch card.

If you're interested, here's their contact info:

C&J Textiles
230 West 38th St., 7th floor
New York NY 10018
212-354-0040

- Kendra
http://demode.tweedlebop.com

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From: "Helen  Pinto" <hpinto@mindspring.com>
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Subject: [h-cost] Mourning, was 1880-1890s costume books
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Look at the following; it has plenty of details concerning mourning customs
and dress in Victorian America, with some mention of England.  There is a
bibliography at the end.

www.geocities.com/BourbonStreet/Quarter/2926/Mourning.htmlwww.geocities.com/
BourbonStreet/Quarter/2926/Mourning.html

This one is very brief and looks like it deals with England.

www.tchevalier.com/fallingangels/bckgrnd/mourning/www.tchevalier.com/falling
angels/bckgrnd/mourning/

Hope it helps.

            -Helen/Aidan


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Subject: Re: [h-cost] silk taffeta
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Dear Kendra,
Thanks for your help. Pricey? do you call 16,50 dollars expensive for a yard
of taffeta?
Here in Denmark we pay doubble the price!

Bjarne

----- Original Message ----- 
From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 11:09 PM
Subject: Re: [h-cost] silk taffeta


> Hey Bjarne,
>
> There's a company called C&J Textiles based in New York City that has an
> amazing range of silk colors and would probably have what you need.  They
> don't have a website and are somewhat pricey (60" silk taffeta is
> $16.50/yard), but if you call or write and tell them that you're a
> professional costumer (in other words, that you sew for other people) they
> will send you their color cards, and then you could mail/phone order what
> you need.  Make sure you ask specifically for their taffeta swatch cards,
as
> the taffeta isn't on their general silk swatch card.
>
> If you're interested, here's their contact info:
>
> C&J Textiles
> 230 West 38th St., 7th floor
> New York NY 10018
> 212-354-0040
>
> - Kendra
> http://demode.tweedlebop.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Cathy--

For late 1890's hair, think Gibson Girl--all puffed up.

Kim
-

Kim, you may have missed my earlier post, where I said I thought it was
either 
early 1890s or  very late 1890s.  I don't know that much about
hairstyles of 
the period, so I'm willing to take your word that she's wearing an 1890 
style.

-- 
Cathy Raymond <cathy@thyrsus.com>

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Mourning, was 1880-1890s costume books
Date: Sat, 1 May 2004 15:48:05 -0600
To: Historical Costume <h-costume@indra.com>
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I could not view either of those pages.  Just got messages that those  
sites could not be found.

On May 1, 2004, at 3:30 PM, Helen Pinto wrote:

> Look at the following; it has plenty of details concerning mourning  
> customs
> and dress in Victorian America, with some mention of England.  There  
> is a
> bibliography at the end.
>
> www.geocities.com/BourbonStreet/Quarter/2926/ 
> Mourning.htmlwww.geocities.com/
> BourbonStreet/Quarter/2926/Mourning.html
>
> This one is very brief and looks like it deals with England.
>
> www.tchevalier.com/fallingangels/bckgrnd/mourning/www.tchevalier.com/ 
> falling
> angels/bckgrnd/mourning/
>
> Hope it helps.
>
>             -Helen/Aidan
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume List" <h-costume@indra.com>
Subject: Fw: [h-cost] Mourning, was 1880-1890s costume books
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 It looks like there was a strange cut-off or wrap-around.  Try these:

http://www.geocities.com/BourbonStreet/Quarter/2926/Mourning.html

 http://www.tchevalier.com/fallingangels/bckgrnd/index.html

                     -Helen/Aidan

> ----- Original Message ----- 
> From: "Sylvia Rognstad" <sylvia@ntw.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, May 01, 2004 5:48 PM
> Subject: Re: [h-cost] Mourning, was 1880-1890s costume books
>
>
> > I could not view either of those pages.  Just got messages that those
> > sites could not be found.
> >
> > On May 1, 2004, at 3:30 PM, Helen Pinto wrote:
> >
> > > Look at the following; it has plenty of details concerning mourning
> > > customs
> > > and dress in Victorian America, with some mention of England.  There
> > > is a
> > > bibliography at the end.
> > >
> > > www.geocities.com/BourbonStreet/Quarter/2926/
> > > Mourning.htmlwww.geocities.com/
> > > BourbonStreet/Quarter/2926/Mourning.html
> > >
> > > This one is very brief and looks like it deals with England.
> > >
> > > www.tchevalier.com/fallingangels/bckgrnd/mourning/www.tchevalier.com/
> > > falling
> > > angels/bckgrnd/mourning/
> > >
> > > Hope it helps.
> > >
> > >             -Helen/Aidan
> > >
> > >
> > > _______________________________________________
> > > h-costume mailing list
> > > h-costume@mail.indra.com
> > > http://mail.indra.com/mailman/listinfo/h-costume
> > >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>


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Subject: [h-cost] Silk Taffeta
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This fellow supposedly dyes to order.  He used to claim to weave to order,
but wasn't willing to weave what I wanted....???

http://www.anjoorian.com/samples.htm


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From h-costume-bounces@indra.com  Sat May  1 19:06:12 2004
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Date: Sat, 1 May 2004 17:03:12 -0600 (MDT)
Subject: Re: Fw: [h-cost] Mourning, was 1880-1890s costume books
From: sylvia@ntw.net
To: "Historical Costume" <h-costume@indra.com>
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Thank you.  Very helpful!
>

  It looks like there was a strange cut-off or wrap-around.  Try these:
>
> http://www.geocities.com/BourbonStreet/Quarter/2926/Mourning.html
>
>  http://www.tchevalier.com/fallingangels/bckgrnd/index.html
>
>                      -Helen/Aidan
>
>> ----- Original Message -----
>> From: "Sylvia Rognstad" <sylvia@ntw.net>
>> To: "Historical Costume" <h-costume@indra.com>
>> Sent: Saturday, May 01, 2004 5:48 PM
>> Subject: Re: [h-cost] Mourning, was 1880-1890s costume books
>>
>>
>> > I could not view either of those pages.  Just got messages that those
>> > sites could not be found.
>> >
>> > On May 1, 2004, at 3:30 PM, Helen Pinto wrote:
>> >
>> > > Look at the following; it has plenty of details concerning mourning
>> > > customs
>> > > and dress in Victorian America, with some mention of England.  There
>> > > is a
>> > > bibliography at the end.
>> > >
>> > > www.geocities.com/BourbonStreet/Quarter/2926/
>> > > Mourning.htmlwww.geocities.com/
>> > > BourbonStreet/Quarter/2926/Mourning.html
>> > >
>> > > This one is very brief and looks like it deals with England.
>> > >
>> > > www.tchevalier.com/fallingangels/bckgrnd/mourning/www.tchevalier.com/
>> > > falling
>> > > angels/bckgrnd/mourning/
>> > >
>> > > Hope it helps.
>> > >
>> > >             -Helen/Aidan
>> > >
>> > >
>> > > _______________________________________________
>> > > h-costume mailing list
>> > > h-costume@mail.indra.com
>> > > http://mail.indra.com/mailman/listinfo/h-costume
>> > >
>> >
>> > _______________________________________________
>> > h-costume mailing list
>> > h-costume@mail.indra.com
>> > http://mail.indra.com/mailman/listinfo/h-costume
>> >
>>
>>
>
>
> _______________________________________________
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>
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From h-costume-bounces@indra.com  Sat May  1 19:12:01 2004
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Fabric storage, mothballs for dummies
Date: Sat, 1 May 2004 18:10:17 -0500
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My friend said Odor-Ban works to get out the smell of moth balls. You find
the product at SAM's. She uses a capful in the laundry to remove the smell.
My grandmother's method was to air out the garment for a week.

Arian

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <20040430.065925.2932.64715@webmail01.lax.untd.com><01ad01c42f79$537fcfd0$5ba810ac@Kate><002401c42f94$b9ee8b60$705183d1@rmitchellras>
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Subject: Re: [h-cost] Photo
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One is a volume entitled "Becoming American Women" (Jewish women's
Perspective) Another title(?) Scandinavian Immigrants of the Upper
Peninsular. Also separate countries of the Low Lands, Russias and such. Will
try to make a list.  Fred Struthers seems to turn these up on a regular
basis and they can be discovered in "Books on Cloth".
Kathleen
----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 4:03 PM
Subject: Re: [h-cost] Photo


> On Saturday 01 May 2004 11:55 am, Lloyd Mitchell wrote:
>
> > The jacket length is somewhat of a puzzler
> > except, if it was made up by an inexperienced seamstress. I have several
> > resources for immigrant dress and some of them would point in the
direction
> > of accommodating an ethnic top to a fashionable interpretation.
>
> This possibility would not surprise me.  However, I'm curious; what
resources
> do you have for immigrant dress?  My grandparents all came to the US from
> Eastern Europe around 1910-12.
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "A man cannot be too careful in the choice of his enemies."
> -Oscar Wilde
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From h-costume-bounces@indra.com  Sat May  1 19:56:40 2004
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Date: Sat, 01 May 2004 23:54:34  0000
From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>
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Hi Bjarne 

Have tried The Designer FAbric Outlet (Orange Bag store) in Toronto, Canada?
http://www.designerfabrics.to/
They have a rather large selection of interesting fabrcis.  If you can't find a solid colour might I suggest a shot white and grey taffeta, it would give it a rich, almost metallic silver look.
For example:
http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=71704&category=6SHTAF&currentNO=1

OR
http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=70537&category=6SHTAF&currentNO=11

For example they have a grey dupioni which might be an option... 
http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=73740&category=16SKSLD&currentNO=11

Hope you find the right fabric.

Cheers,
Danielle
--------- Origin Message ---------

DATE: Sat, 1 May 2004 17:10:31 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Cc: 

>Hi,
>I have looked and looked and looked, it seems impossible to find a silk taffeta in the grey coulour i need for the courtdress.
>I tryed http://www.hyenaproductions.com/index.html
>And they have wonderfull produkts, in fact some ot thier striped ones could be the colour i need, but i cant find just solid colours in silk taffeta. I emailed them and asked, but they have not bothered to answer me.
>Any chanse any of you know where i could find a light grey colour of taffeta?
>
>Bjarne
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>_______________________________________________
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Need a new email address that people can remember
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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My guess is still about 1885.  After viewing more than18 photos of that
decade, those peculiar spit-curls of the brow with the very tight finger
waves of the crown are mostly identified as "1885". Of course in her
photograph, she might have chosen the style (in the early 90's) if she
thought it was currently fashionable and correct.
Kathleen
----- Original Message ----- 
From: "kim baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 5:42 PM
Subject: RE: [h-cost] Photo


>
> Cathy--
>
> For late 1890's hair, think Gibson Girl--all puffed up.
>
> Kim
> -
>
> Kim, you may have missed my earlier post, where I said I thought it was
> either
> early 1890s or  very late 1890s.  I don't know that much about
> hairstyles of
> the period, so I'm willing to take your word that she's wearing an 1890
> style.
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
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Subject: [h-cost] A funny story was :What would a chameleon wear?
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When I was twelve oer thirteen, I  lived in Hamburg,  Germany (1972).   One
day, my sister, who was two years older,  and my brother, who was four years
younger ,  and I decided to have some fun with the 'Germans'.   We had
always been quickly identifiable by our dress, so we decided to do 'really
''freak'em''  out.  We stood in front of our apartment dressed as crazily as
we could.  All I remember was my sister had on a wig (Cher like, bangs and
long black hair; striped,  ''wicked witch of the west'' stockings and soccer
shoes ( with laces removed and tongues completely pulled out.)   I don't
remember at all what my brother and I had on but I am sure the costumes were
equally weird. Guess what?  NO one paid us ANY attention at all......it was
like we were not there!  (Okay, I guess that was a statement in of itself.)

Sg


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Subject: [h-cost] Sorry about that late note.
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I don't know what is going on, but my mail is now taking 24 hours to reach
the list sometimes..grrrr.

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Subject: [h-cost] Ana Mendoza
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>From another list.

De
-----Original Message-----

If you go to this page for the parody newsletter in Trimaris:

http://www.thequarter.org/issue22/page06.php

there is a picture of Ana de Mendoza de la Cerda (1540-92), Princess 
of Eboli, Spanish noblewoman.  She is wearing an eye patch.  The 
underdress (?) or chemise has elbow length sleeves.  She appears to 
be wearing a pearl choker necklace.  I can't see the details of her 
dress.  Does anyone has a color or at least clearer copy of the 
portrait?  I don't even know the artist.




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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Amusement for Elizabethan aficionados
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Check it out quickly; it'll be gone after Sunday:

http://www.chron.com/content/chronicle/comics/archive/buildcp.mpl?v=3.0&page=1&quality=high&cpp=4&c=147

Note the ruff.

--Robin


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On Saturday 01 May 2004 05:42 pm, kim baird wrote:
> Cathy--
>
> For late 1890's hair, think Gibson Girl--all puffed up.

That much I knew.  However, your comment was to the effect that all the little 
curls Lisa's ancestor had in front was characteristic of 1890.  That I hadn't 
known.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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On Saturday 01 May 2004 07:57 pm, Lloyd Mitchell wrote:
> One is a volume entitled "Becoming American Women" (Jewish women's
> Perspective) Another title(?) Scandinavian Immigrants of the Upper
> Peninsular. Also separate countries of the Low Lands, Russias and such.
> Will try to make a list.  Fred Struthers seems to turn these up on a
> regular basis and they can be discovered in "Books on Cloth".

I don't remember seeing those in the latest edition of "Books on Cloth"; guess 
I'll have to check more closely.  Thanks!

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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Subject: [h-cost] Ribbon bras
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Hi,
Just wanted you to see this projekt. Some ladies has made a competition in decorating bras with ribbon embroidery. Some of them are beautifull..............
http://www.ribbonsmyth.com/

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Hi Danielle,
Hope you are well. Thanks for the tip with Designerfabrics. The second one
you gave costs 30 dollars a meter, it is so beautifull and would be very
well for this projekt.
Thanks a lot.

Bjarne


----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 11:54 PM
Subject: Re: [h-cost] hyena fabrics


> Hi Bjarne
>
> Have tried The Designer FAbric Outlet (Orange Bag store) in Toronto,
Canada?
> http://www.designerfabrics.to/
> They have a rather large selection of interesting fabrcis.  If you can't
find a solid colour might I suggest a shot white and grey taffeta, it would
give it a rich, almost metallic silver look.
> For example:
>
http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=71704&category=6SHTAF&currentNO=1
>
> OR
>
http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=70537&category=6SHTAF&currentNO=11
>
> For example they have a grey dupioni which might be an option...
>
http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=73740&category=16SKSLD&currentNO=11
>
> Hope you find the right fabric.
>
> Cheers,
> Danielle
> --------- Origin Message ---------
>
> DATE: Sat, 1 May 2004 17:10:31
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> To: <h-costume@indra.com>
> Cc:
>
> >Hi,
> >I have looked and looked and looked, it seems impossible to find a silk
taffeta in the grey coulour i need for the courtdress.
> >I tryed http://www.hyenaproductions.com/index.html
> >And they have wonderfull produkts, in fact some ot thier striped ones
could be the colour i need, but i cant find just solid colours in silk
taffeta. I emailed them and asked, but they have not bothered to answer me.
> >Any chanse any of you know where i could find a light grey colour of
taffeta?
> >
> >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
> >
>
>
>
> Need a new email address that people can remember
> Check out the new EudoraMail at
> http://www.eudoramail.com
> _______________________________________________
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Date: Sun, 02 May 2004 04:10:23 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Ribbon bras
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>Just wanted you to see this projekt. Some ladies has made a competition in 
>decorating bras with ribbon embroidery. Some of them are 
>beautifull..............
>http://www.ribbonsmyth.com/

Thank you for the heads up.  I looked at the exhibition schedule, and I
will get to see these in person at the Pacific International Quilt Festival
in October in Santa Clara, California.

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

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <006b01c42fc5$31d37160$0201a8c0@kimathlon>
	<200405020205.34249.cathy@thyrsus.com>
Subject: Re: [h-cost] Photo
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All the little plastered curls are a feature of the mid '80's.  By the
ninety, they become fluffy in the mode that was called the 'lunatic fringe'.
And the back hair is piled up into a chignon.
Kathleen
(At least this seems to be what my photos show.  Also, the Courson book of
hair styles through the ages shows this development, too.)
----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 02, 2004 2:05 AM
Subject: Re: [h-cost] Photo


> On Saturday 01 May 2004 05:42 pm, kim baird wrote:
> > Cathy--
> >
> > For late 1890's hair, think Gibson Girl--all puffed up.
>
> That much I knew.  However, your comment was to the effect that all the
little
> curls Lisa's ancestor had in front was characteristic of 1890.  That I
hadn't
> known.
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "A man cannot be too careful in the choice of his enemies."
> -Oscar Wilde
> _______________________________________________
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They were there in the past, and he may not have additional copies at this
time.
----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 02, 2004 2:06 AM
Subject: Re: [h-cost] Photo


> On Saturday 01 May 2004 07:57 pm, Lloyd Mitchell wrote:
> > One is a volume entitled "Becoming American Women" (Jewish women's
> > Perspective) Another title(?) Scandinavian Immigrants of the Upper
> > Peninsular. Also separate countries of the Low Lands, Russias and such.
> > Will try to make a list.  Fred Struthers seems to turn these up on a
> > regular basis and they can be discovered in "Books on Cloth".
>
> I don't remember seeing those in the latest edition of "Books on Cloth";
guess
> I'll have to check more closely.  Thanks!
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "A man cannot be too careful in the choice of his enemies."
> -Oscar Wilde
> _______________________________________________
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To: "Historical Costume" <h-costume@indra.com>
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Wonderful...I liked the first on which I would call,"Hills and Valleys"
Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Sunday, May 02, 2004 6:24 AM
Subject: [h-cost] Ribbon bras


Hi,
Just wanted you to see this projekt. Some ladies has made a competition in
decorating bras with ribbon embroidery. Some of them are
beautifull..............
http://www.ribbonsmyth.com/

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: Re: [h-cost] Photo
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Again thanks everyone for your comments, I am really enjoying it, esp.
since I know next to nothing about styles from this period (encompassing
1870, which might be the earliest, to the 1890's).  Unfortunately, my
mother is the only one left (the photo would have been of her
grandmother, whom she barely knew), as my grandmother died when I was
only 8 back int he 1960's.

It's quite possible it's a borrowed dress (maybe one the phtographer had
on hand?).  IS she pregnant?--I thought of that, and I suppose it's
possible.  I'm definitely going to try what Robin suggested, that is, to
go to the Ellis Island sites online and see if there is anything (I'm not
even sure I know her last name).  Possibly my mom remembers something.

The photo itself is tightly glued onto a thick cardboard backing.  Wonder
if it's worthwhile trying to get it off?

What sort of fabric would the dress have been?  IT looks like some sort
of wool to me, texture-wise.  My idea is to reproduce it in brown with
black for the trim, and present it on stage as a sepia print, matching
the make-up.  I even already have a presentation to go with it, just need
to figure out some musical background.  Any idea about a pattern to start
with and modify?

Yours in costuming, Lisa A.

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From h-costume-bounces@indra.com  Sun May  2 12:16:33 2004
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Subject: Re: [h-cost] Early renaissance belts and shoes
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Try the National Portrait Gallery at www.npg.org.uk

They have a searchable index (search the website) and display the images
too.  I don't know how much they have on the Scottish highlands though.

Lisa Sinervo
www.thrednedlestrete.com



----- Original Message -----
From: "Joe Robertson" <joedr@charter.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 01, 2004 7:26 AM
Subject: [h-cost] Early renaissance belts and shoes


> I would like to find some good pictoral examples of upper class girdles
> (and footwear) from the early to mid 1500's, such that would be
> appropriate for trips to town. Any suggestions on helpful sites? I am
> targeting western europe, specifically the Scottish highlands.
> Cheers,
> Joe
>
>
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From h-costume-bounces@indra.com  Sun May  2 13:38:57 2004
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] silk taffeta
Date: Sun, 2 May 2004 10:35:45 -0700
To: Historical Costume <h-costume@indra.com>
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Bjarne -- I second the recommendation for C&J, they are wonderful to 
work with and ship the same day.  We order from them twice a week at 
work...

.heather.


On May 1, 2004, at 2:32 PM, Bjarne og Leif Drews wrote:

> Dear Kendra,
> Thanks for your help. Pricey? do you call 16,50 dollars expensive for 
> a yard
> of taffeta?
> Here in Denmark we pay doubble the price!
>
> Bjarne
>
> ----- Original Message -----
> From: "Kendra Van Cleave" <kendra@tweedlebop.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, May 01, 2004 11:09 PM
> Subject: Re: [h-cost] silk taffeta
>
>
>> Hey Bjarne,
>>
>> There's a company called C&J Textiles based in New York City that has 
>> an
>> amazing range of silk colors and would probably have what you need.  
>> They
>> don't have a website and are somewhat pricey (60" silk taffeta is
>> $16.50/yard), but if you call or write and tell them that you're a
>> professional costumer (in other words, that you sew for other people) 
>> they
>> will send you their color cards, and then you could mail/phone order 
>> what
>> you need.  Make sure you ask specifically for their taffeta swatch 
>> cards,
> as
>> the taffeta isn't on their general silk swatch card.
>>
>> If you're interested, here's their contact info:
>>
>> C&J Textiles
>> 230 West 38th St., 7th floor
>> New York NY 10018
>> 212-354-0040
>>
>> - Kendra
>> http://demode.tweedlebop.com
>>
>> _______________________________________________
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>
>
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In a message dated 5/2/2004 1:36:32 PM Eastern Standard Time, 
alice@wonderland.com writes:
>Bjarne -- I second the recommendation for C&J, they are wonderful to 
>work with and ship the same day.  We order from them twice a week at 
>work...

>.heather.


Do you happen to know if C&J sells shot/iridescent silk taffeta?  I've been 
looking everywhere for blue silk taffeta shot with black, and the one place I 
found it wanted $31/yard.  Given that I need six or so yards, $31 is a little 
too painful for a single yard!  Does C&J have a minimum order, by the way?

Christine
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20040430.065925.2932.64715@webmail01.lax.untd.com><200405011603.14389.cathy@thyrsus.com><000b01c42fd8$07f42a20$7a5183d1@rmitchellras><200405020206.57325.cathy@thyrsus.com>
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Subject: [h-cost] Word and Image: The Trevelyon Miscellany of 1608  
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A kind soul who viewed my website where I mentioned "Miscellany by Thomas
Trevelyon. Published in 1608. I've never seen this book, but it is mentioned
in Janet Arnold's Book, Queen Elizabeth's Wardrobe Unlock'd. Said to reside
in the Folger Shakespeare Library, Washington, D.C. " has sent me the
following link to a current exhibit at the Folger Shakespeare Library.
There is a small online sampling of images from this book, including an
embroidery pattern for a cap.  Runs through May 22nd.  Does anyone know if
this book has ever been reprinted?  I'd love a copy.  600 pages, printed in
the early 17th century, has 100 pages of embroidery patterns, including 20
cap patterns.

http://www.folger.edu/public/exhibit/current.asp

Lisa Sinervo


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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] silk taffeta
Date: Sun, 2 May 2004 10:55:24 -0700
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They don't sell iridescent, and they don't have minimums.



Sorry!


On May 2, 2004, at 10:44 AM, IceGirlNIN@aol.com wrote:

> In a message dated 5/2/2004 1:36:32 PM Eastern Standard Time,
> alice@wonderland.com writes:
>> Bjarne -- I second the recommendation for C&J, they are wonderful to
>> work with and ship the same day.  We order from them twice a week at
>> work...
>
>> .heather.
>
>
> Do you happen to know if C&J sells shot/iridescent silk taffeta?  I've 
> been
> looking everywhere for blue silk taffeta shot with black, and the one 
> place I
> found it wanted $31/yard.  Given that I need six or so yards, $31 is a 
> little
> too painful for a single yard!  Does C&J have a minimum order, by the 
> way?
>
> Christine
> _______________________________________________
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Subject: [h-cost] Trousseau case? Modern "steamer trunk"? Something else?
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I just saw a *very interesting* and quite inexpensive piece of (modern) 
luggage which, if I can find the place to store, I just might indulge 
myself with.

On the outside, it looks a lot like a "car pack" from the 1960's, but with 
the built-in rolling setup of today's luggage. The fellow selling it said 
it was a "garment bag". Biggest "garment bag" I ever saw (bigger than a 
full-sized Pullman)... I opened it up and looked at it.

Two sides, zipper. Could be two separate suitcase-type compartments, or a 
suitcase with a hanging-clothes side, no? Well, both sides unzippered to 
garment hanger mechanisms. One side had a single garment-hanger rack, the 
other had twin garment-hanger racks. The single-rack side had a pair of 
those little triangular zipper compartments. The sides opposite the hanger 
areas, folded out *twice*, which I estimate would fit a full-length gown. 
The fold-segments had elastic-and zipper constraints to keep the garment(s) 
in place, plus there was a wide mesh adjustable constraint at the middle of 
the suitcase segment and a padded constraint bar at the "bottom" of each 
segment (just before the fold-out sections).

Once folded, the side with the dual hanger-rack had a set of pockets to fit 
in a pair of shoes. There were other various compartments in which 
accessories, etc. could be stored.

It looks to me as if the single-hanger compartment might have been intended 
to fit a wedding gown, and the double-hanger compartment, a separate train 
and veil. Failing that, the closest analog I can think of is an 
old-fashioned steamer trunk for going on sea voyages -- except without the 
dresser/drawer area.

I'm thinking this might be useful for traveling with a weekend's worth of 
Elizabethan gowns, though I'm not sure if/how easily the hoops will fold 
into it. At any rate, the price is low enough that the biggest cost to me 
will be storing it.

Any other ideas on this interesting piece of luggage?


Brenda
webwarren@earthlink.net


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Can you provide the name of the book by Courson? Is it available or out of
print?

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

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

----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>

> (At least this seems to be what my photos show.  Also, the Courson book of
> hair styles through the ages shows this development, too.)


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Sounds great! My only questions are: 

A) Where do you find it?

B) How much is it?



Karen

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When I first started collecting photos, I was obsessed with the idea that
all 'old cardboard' was nasty and so spent a couple of days trying to remove
the picture from the mountings.  All developed pics are not on the same
paper.  Some is obviously thinner than others and should (from my point of
view) be left well enough alone, if the backing seems sturdy and not
problematical.  When the pics in question have lasted 100yrs or more and
don't show signs of acid damage, "leave it be."
My guess of the fabric is that it is of a mm weight wool crepe. When you
decide if the bodice is to be copied as presented in your picture or as you
presume it was intended, I would take a look at Costume@patterns of time.com
and choose TV221 for the skirt(with modifications and Tv460 for the jacket.
They both fall in the period of the 1880/90's period and would reflect the
original styles with the modifications that have been suggested as of the
origination of the garment in the picture.  How fortunate to have the
resource of the braid work that came in so strongly when I first downloaded
the image!
Kathleen   ----- Original Message ----- 
From: "Lisa A Ashton" <lisa58@juno.com>
To: <h-costume@indra.com>
Sent: Saturday, May 01, 2004 12:17 PM
Subject: Re: [h-cost] Photo


> Again thanks everyone for your comments, I am really enjoying it, esp.
> since I know next to nothing about styles from this period (encompassing
> 1870, which might be the earliest, to the 1890's).  Unfortunately, my
> mother is the only one left (the photo would have been of her
> grandmother, whom she barely knew), as my grandmother died when I was
> only 8 back int he 1960's.
>
> It's quite possible it's a borrowed dress (maybe one the phtographer had
> on hand?).  IS she pregnant?--I thought of that, and I suppose it's
> possible.  I'm definitely going to try what Robin suggested, that is, to
> go to the Ellis Island sites online and see if there is anything (I'm not
> even sure I know her last name).  Possibly my mom remembers something.
>
> The photo itself is tightly glued onto a thick cardboard backing.  Wonder
> if it's worthwhile trying to get it off?
>
> What sort of fabric would the dress have been?  IT looks like some sort
> of wool to me, texture-wise.  My idea is to reproduce it in brown with
> black for the trim, and present it on stage as a sepia print, matching
> the make-up.  I even already have a presentation to go with it, just need
> to figure out some musical background.  Any idea about a pattern to start
> with and modify?
>
> Yours in costuming, Lisa A.
>
> ________________________________________________________________
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <006b01c42fc5$31d37160$0201a8c0@kimathlon><200405020205.34249.cathy@thyrsus.com><000d01c4303d$81151f80$805183d1@rmitchellras>
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Subject: Re: [h-cost] Hairstyles through the ages?
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>From my 'theatrical library', "Fashions in Hair", the first five thousand
years; Peter Owen. London.  Published 1965, Peter Owen Limited
C  Richard Corson, 1965
Wonderful book!  Drawings are not great, but I love chasing down the
original drawings and illustrations that have been redrawn for the book. The
Biblio includes Museums, books and periodicals for documentation. My
complete copy is almost 700 pages.
Kathleen

----- Original Message ----- 
From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 02, 2004 2:40 PM
Subject: Re: [h-cost] Hairstyles through the ages?


> Can you provide the name of the book by Courson? Is it available or out of
> print?
>
> angela
> +++++
> Angela F. Lazear
> Cabbage Rose Costumes
> www.cabbagerosecostumes.com
> Theatrical Costume Design
>
> "Love all, trust a few, do wrong to none:
> be able for thine enemy rather in power than use,
> and keep thy friend under thy own life's key:
> be checked for silence, but never taxed for speech..."
> W. Shakespeare
>
> ----- Original Message ----- 
> From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
>
> > (At least this seems to be what my photos show.  Also, the Courson book
of
> > hair styles through the ages shows this development, too.)
>
>
> _______________________________________________
> 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] Photo
References: <20040502.084822.-356355.1.lisa58@juno.com>
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Lisa A Ashton wrote:

> 
> The photo itself is tightly glued onto a thick cardboard backing.  Wonder
> if it's worthwhile trying to get it off?

I wouldn't. It probably came that way and would only stress the photo.


> 
> What sort of fabric would the dress have been?  IT looks like some sort
> of wool to me, texture-wise. 

Very likely wool but I'm not knowledgeable about weaves.

As for books, pick up 'Victorian Costume for Ladies 1860-1900.' Starts 
earlier than your time frame, but covers all the decades very well. 
Recently released, so it should be easy to find.



Dawn



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Subject: Re: [h-cost] Word and Image: The Trevelyon Miscellany of 1608
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> A kind soul who viewed my website where I mentioned "Miscellany by Thomas
> Trevelyon. Published in 1608.

	I've seen references to what sounds like the same book referred to
as the Commonplace Book.  Also by Thomas Trevelyon and published in 1608.
I haven't been able to track down any leads on facsimiles or reprints
either, alas.

> 100 pages of embroidery patterns, including 20 cap patterns.

	14 of the cap panel patterns (reduced to about 1" in height) are
reproduced in The Embroiderer's Flowers by Thomasina Beck.  There are also
patterns for the bands for two of them.  If enlarged on a scanner or
photocopier, they'd probably be clear enough to give the general design
and some of the details too.

--annora

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Date: Sun, 02 May 2004 22:18:31  0000
From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>
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Hi Bjarne,

You're welcome.  I always try to promote Canadian companies when possible.

Cheers,
Danielle
--------- Original Message ---------
>Hi Danielle,
>Hope you are well. Thanks for the tip with Designerfabrics. The second one
>you gave costs 30 dollars a meter, it is so beautifull and would be very
>well for this projekt.
>Thanks a lot.
>
>Bjarne
>
>
>----- Original Message ----- 
>From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Saturday, May 01, 2004 11:54 PM
>Subject: Re: [h-cost] hyena fabrics
>
>
>> Hi Bjarne
>>
>> Have tried The Designer FAbric Outlet (Orange Bag store) in Toronto,
>Canada?
>> http://www.designerfabrics.to/
>> They have a rather large selection of interesting fabrcis.  If you can't
>find a solid colour might I suggest a shot white and grey taffeta, it would
>give it a rich, almost metallic silver look.
>> For example:
>>
>http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=71704&category=6SHTAF¤tNO=1
>>
>> OR
>>
>http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=70537&category=6SHTAF¤tNO=11
>>
>> For example they have a grey dupioni which might be an option...
>>
>http://www.designerfabrics.ca/cgi-bin/DCShops/dcshop.cgi?database=fabric&action=view_product&productID=73740&category=16SKSLD¤tNO=11
>>
>> Hope you find the right fabric.
>>
>> Cheers,
>> Danielle
>> --------- Origin Message ---------
>>
>> DATE: Sat, 1 May 2004 17:10:31
>> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>> To: <h-costume@indra.com>
>> Cc:
>>
>> >Hi,
>> >I have looked and looked and looked, it seems impossible to find a silk
>taffeta in the grey coulour i need for the courtdress.
>> >I tryed http://www.hyenaproductions.com/index.html
>> >And they have wonderfull produkts, in fact some ot thier striped ones
>could be the colour i need, but i cant find just solid colours in silk
>taffeta. I emailed them and asked, but they have not bothered to answer me.
>> >Any chanse any of you know where i could find a light grey colour of
>taffeta?
>> >
>> >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
>> >
>>
>>
>>
>> Need a new email address that people can remember
>> Check out the new EudoraMail at
>> http://www.eudoramail.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
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>



Need a new email address that people can remember
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Subject: Re: [h-cost] Trousseau case? Modern "steamer trunk"? Something else?
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That would depend a lot on what one is using for the hoop stiffening, 
wouldn't it? If you were using rope of some sort, or stuffed tubes, they 
ought to be just fine.  All bets are off, though, if you're using willow 
or wood or metal....;o)
When I did Elizabethan, my farthingale was stiffened with "hoops" of 
flexible vinyl tubing (normally used in some sort of plumbing).  Worked 
great, twisted into a neat, flat parcel for packing into a suitcase...
--sue

Carolyn Kayta Barrows wrote:

> I'm not sure if/how easily the hoops will fold 
> 
> They ought to fold very easily - and stay folded.  As in, the folds won't
> come out afterwards.  I'd advise a different place for putting the hoops.


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I'm not sure if/how easily the hoops will fold 

They ought to fold very easily - and stay folded.  As in, the folds won't
come out afterwards.  I'd advise a different place for putting the hoops.

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

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> That would depend a lot on what one is using for the hoop stiffening,
> wouldn't it? If you were using rope of some sort, or stuffed tubes,
> they ought to be just fine.  All bets are off, though, if you're using
> willow or wood or metal....;o) When I did Elizabethan, my farthingale
> was stiffened with "hoops" of flexible vinyl tubing (normally used in
> some sort of plumbing).  Worked great, twisted into a neat, flat
> parcel for packing into a suitcase... --sue

I use standard hoop boning and they twist/coil to fit nicely into my 
clothes bags. Even my big 18th C panniers have no problem. Then they 
just pop right out to the correct shape when I pull them out.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] 1700's dress ?
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I have this Butterick pattern 3640. Is this a loose rendition of mid to late
1700s French? And is the ruffle at the hem common with this style.
This is not my area of interest so I am asking.

http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.page.4&TI=10013&M=
&pageSize=9&UK=31998842

De

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I've been following this thread off and on all week while I was going
crazy with my tea (party) which I pulled off yesterday to rave reviews,
even if I DID use plastic spoons to serve the jelly and paper plates. 
LOL   

I FINALLY went to look at the photo in question and *I* got to wondering
if the dress in question wasn't added to in a sort of yoke thing, to
lengthen the skirt.   the braid design could then have been added to try
to tie the whole thing together.   This could be in keeping with the
idea of a handmedown dress or with the idea of altering an ethnic dress
to suit a more fashionable image when they got to this country.   I'm
sure I've seen many pictures of women who just arrived with shorter
skirts, sort of country length suitable for working outdoors.   the most
noticable thing about this dress in my ignorant view is the fact that
the peplum seems to be riding on the hips like a lowriding belt, which
is what made me think of a lengthened silohette.   if I am not "reading"
the photo right then ignore me.  LOL
			Kitty

Lisa A Ashton wrote:
> 
> Hello--
> 
> Here is the photo that I am trying to use to reproduce this costume.   I
> only have the one photo.  It is posted at
> http://www.oldwaylane.net/ukrainian.html  since this morning.  Thank  you
> to Judy Mitchell for her help posting it at this site.
> 
> Although I suspected it was about turn of the century, someone who has
> looked at it thinks it may be earlier, about 1880's (possible) and that
> the dress may well have been one re-made from an earlier bustle dress.
> Again, any help or ideas are welcomed!
> 
> Thanks,
> Yours in costuming, Lisa A.
> 
> ________________________________________________________________
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From h-costume-bounces@indra.com  Mon May  3 00:55:16 2004
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Subject: RE: [h-cost] Photo
Date: Sun, 2 May 2004 21:47:23 -0700
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I hadn't really noticed it before since this is certainly not my area of
focus, but the braid pattern has a break and then change at the "bulge" on
the hip line.

I could be making a completely ignorant suggestion here but if this dress
belongs to a country cousin that reworked her "Sunday best" to be more city
fashionable does it seem feasible that the skirt was lengthened with a yoke
and the jacket also lengthened to hide the addition to the skirt with maybe
a removed shawl that was originally made to match or close.  2 added seams
in that location maybe a decent explanation for the bulge and the braid
pattern changing.

Molly

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kitty Felton
Sent: Sunday, May 02, 2004 8:48 PM
To: Historical Costume
Subject: Re: [h-cost] Photo


I've been following this thread off and on all week while I was going
crazy with my tea (party) which I pulled off yesterday to rave reviews,
even if I DID use plastic spoons to serve the jelly and paper plates.
LOL

I FINALLY went to look at the photo in question and *I* got to wondering
if the dress in question wasn't added to in a sort of yoke thing, to
lengthen the skirt.   the braid design could then have been added to try
to tie the whole thing together.   This could be in keeping with the
idea of a handmedown dress or with the idea of altering an ethnic dress
to suit a more fashionable image when they got to this country.   I'm
sure I've seen many pictures of women who just arrived with shorter
skirts, sort of country length suitable for working outdoors.   the most
noticable thing about this dress in my ignorant view is the fact that
the peplum seems to be riding on the hips like a lowriding belt, which
is what made me think of a lengthened silohette.   if I am not "reading"
the photo right then ignore me.  LOL
			Kitty

Lisa A Ashton wrote:
>
> Hello--
>
> Here is the photo that I am trying to use to reproduce this costume.   I
> only have the one photo.  It is posted at
> http://www.oldwaylane.net/ukrainian.html  since this morning.  Thank  you
> to Judy Mitchell for her help posting it at this site.
>
> Although I suspected it was about turn of the century, someone who has
> looked at it thinks it may be earlier, about 1880's (possible) and that
> the dress may well have been one re-made from an earlier bustle dress.
> Again, any help or ideas are welcomed!
>
> Thanks,
> Yours in costuming, Lisa A.
>
> ________________________________________________________________
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From h-costume-bounces@indra.com  Mon May  3 07:57:42 2004
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I'm not positive I understand what you mean by a "yoke" referring to a
skirt.  Do you mean that like a yoke on a blouse, it would lie flat at
the waistband and for about 6 inches and then the pleats or gathers would
be taken up, effectively smoothing out the abdomen but retaining the
fuller skirt look?

I had initially though that the skirt would just be cut out in 6 gores,
wider at the bottom.

Yours in costuming, Lisa A.

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I've been sitting out this debate but I feel that I must finally put in
my tuppence of opinion.

I believe this dress dates from 1889-1892. In "Victorian Costume For
Ladies" by Linda Setnik there is a photograph on page 133 which is very,
very similar to the outfit in question. The combination of very fitted
bodice with the almost vertical puff at the sleeve head would seem to put
it pretty firmly in this time period. Bodices were fitted and trimmed
prior to this, but the sleeve head was always smooth. The little puff
didn't start until the last bustle was dying away. There are other
similar dresses on pages 134, 135, & 140. Just at a guess I'd put the
dress at 1889 or 90, but with a fashion lag it could be slightly later
and not be following fashion too closely. I would not tend to put it at
the turn of the century because while the sleeve puffs did shrink, they
stayed full and relaxed- not the stiff little pointy bits we see here.


Karen

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Hi.
Just wanted to tell you that i had to remove the portrait of the dress i am making. The portrait belongs to Frederiksborg Slot, but a request of permission to use the picture is on its way......... 
It was the Gammel Estrup Museum who has borrowed the portrait from Frederiksborg, who told me that i had to get permission to use it! 
I will have to make a drawing of it in stead to use untill i have permission.

Bjarne 





Leif og Bjarne Drews
www.my-drewscostumes.dk

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

makes sense to me.  teehee


Molly Boone wrote:
> 
> I hadn't really noticed it before since this is certainly not my area of
> focus, but the braid pattern has a break and then change at the "bulge" on
> the hip line.
> 
> I could be making a completely ignorant suggestion here but if this dress
> belongs to a country cousin that reworked her "Sunday best" to be more city
> fashionable does it seem feasible that the skirt was lengthened with a yoke
> and the jacket also lengthened to hide the addition to the skirt with maybe
> a removed shawl that was originally made to match or close.  2 added seams
> in that location maybe a decent explanation for the bulge and the braid
> pattern changing.
> 
> Molly
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Kitty Felton
> Sent: Sunday, May 02, 2004 8:48 PM
> To: Historical Costume
> Subject: Re: [h-cost] Photo
> 
> I've been following this thread off and on all week while I was going
> crazy with my tea (party) which I pulled off yesterday to rave reviews,
> even if I DID use plastic spoons to serve the jelly and paper plates.
> LOL
> 
> I FINALLY went to look at the photo in question and *I* got to wondering
> if the dress in question wasn't added to in a sort of yoke thing, to
> lengthen the skirt.   the braid design could then have been added to try
> to tie the whole thing together.   This could be in keeping with the
> idea of a handmedown dress or with the idea of altering an ethnic dress
> to suit a more fashionable image when they got to this country.   I'm
> sure I've seen many pictures of women who just arrived with shorter
> skirts, sort of country length suitable for working outdoors.   the most
> noticable thing about this dress in my ignorant view is the fact that
> the peplum seems to be riding on the hips like a lowriding belt, which
> is what made me think of a lengthened silohette.   if I am not "reading"
> the photo right then ignore me.  LOL
>                         Kitty
> 
> Lisa A Ashton wrote:
> >
> > Hello--
> >
> > Here is the photo that I am trying to use to reproduce this costume.   I
> > only have the one photo.  It is posted at
> > http://www.oldwaylane.net/ukrainian.html  since this morning.  Thank  you
> > to Judy Mitchell for her help posting it at this site.
> >
> > Although I suspected it was about turn of the century, someone who has
> > looked at it thinks it may be earlier, about 1880's (possible) and that
> > the dress may well have been one re-made from an earlier bustle dress.
> > Again, any help or ideas are welcomed!
> >
> > Thanks,
> > Yours in costuming, Lisa A.
> >
> > ________________________________________________________________
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> _______________________________________________
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Subject: Re: [h-cost] Word and Image: The Trevelyon Miscellany of 1608
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Yes, I've heard too of the Commonplace Book.  I'm looking forward to seeing
the embroidery patterns eventually.  They do seem to pop up here and there.

Lisa Sinervo


----- Original Message -----
From: "annora" <lisleong@k12.hi.us>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 02, 2004 2:04 PM
Subject: Re: [h-cost] Word and Image: The Trevelyon Miscellany of 1608


> > A kind soul who viewed my website where I mentioned "Miscellany by
Thomas
> > Trevelyon. Published in 1608.
>
> I've seen references to what sounds like the same book referred to
> as the Commonplace Book.  Also by Thomas Trevelyon and published in 1608.
> I haven't been able to track down any leads on facsimiles or reprints
> either, alas.
>
> > 100 pages of embroidery patterns, including 20 cap patterns.
>
> 14 of the cap panel patterns (reduced to about 1" in height) are
> reproduced in The Embroiderer's Flowers by Thomasina Beck.  There are also
> patterns for the bands for two of them.  If enlarged on a scanner or
> photocopier, they'd probably be clear enough to give the general design
> and some of the details too.
>
> --annora
>
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>


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yes, that is what a skirt yoke is like, and that is what it looks like
to me.  I assume the garment itself it long gone?   
kitty

Lisa A Ashton wrote:
> 
> I'm not positive I understand what you mean by a "yoke" referring to a
> skirt.  Do you mean that like a yoke on a blouse, it would lie flat at
> the waistband and for about 6 inches and then the pleats or gathers would
> be taken up, effectively smoothing out the abdomen but retaining the
> fuller skirt look?
> 
> I had initially though that the skirt would just be cut out in 6 gores,
> wider at the bottom.
> 
> Yours in costuming, Lisa A.
> 
> ________________________________________________________________
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Date: Mon, 03 May 2004 09:16:45 -0700
Subject: Re: [h-cost] Amusement for Elizabethan aficionados
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Gotta get my email at home fixed. I hate only having access on weekdays!
LynnD

On 5/1/04 10:28 PM, "Robin Netherton" <robin@shell.nightowl.net> wrote:

> 
> Check it out quickly; it'll be gone after Sunday:
> 
> http://www.chron.com/content/chronicle/comics/archive/buildcp.mpl?v=3.0&page=1
> &quality=high&cpp=4&c=147
> 
> Note the ruff.
> 
> --Robin
> 
> 
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Greetings!
Thank you all very much for your ideas!  I went shopping this weekend 
and bought a few things I hope will work (Ann Taylor linen/lycra pants 
(washable!), shoes and a few more things).  A friend let me into her 
closet .... hehehe I got a few more things (floral tank dress and skirt 
& sweater outfit).  And to top it off, I stopped at the Samsonite 
outlet store and got a nifty carry-on/rolly suitcase set on sale.  (We 
LIKE sales!  lol)  So now I have something to carry stuff (tm) in.  
Thanks again!!
Althea


On Friday, April 30, 2004, at 03:13 AM, Bjarne og Leif Drews wrote:

> Hi Althea,
> I dont know if you are travelling to the north of Europe, but up here 
> we
> have much more casual wear than down the south in Italy for instance. 
> Also
> up here we are shy not to wear two vivid colours.
> I can always recognise other danes, when i travel in the south, we 
> look so
> dull and konservative.
>
> Bjarne
>
>
> ----- Original Message -----
> From: "Althea Turner" <althea@alfalfapress.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, April 30, 2004 2:25 AM
> Subject: [h-cost] What would a chameleon wear?
>
>
>> Greetings!
>>
>> I am trying to figure out what to wear when I travel in Europe this
>> summer.  I don't want my clothes to scream, "I'm an American please
>> steal my wallet!"  Does anyone have suggestions on what to take?  I
>> tend to more classic styles anyway.  I need to plan for trips to the
>> archives and collections as well as a conference.  I plan on leaving
>> the jeans and sneakers at home.  I need to find a carrying bag for my
>> laptop and equipment that doesn't advertise it's a laptop.  What kind
>> of bags are being used in France/Italy?  I will be going shopping next
>> week.  hurray!  :D  Any good web sites?  I don't mind paying for
>> quality, but don't have a huge budget.
>>
>> Thanks!!
>>
>> Althea Turner
>> *** althea@alfalfapress.com
>> *** http://www.alfalfapress.com
>>
>> Public Relations Manager
>> Sauron/Voldemort 2004
>>
>> Bush/Cheney - Bringing Bigotry back to the Constitution.
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Public Relations Manager
Sauron/Voldemort 2004

Bush/Cheney - Bringing Bigotry back to the Constitution.

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Another resource you might want to check re a reconstruction is "Woman's
Costume 1877-1885" by Charles Hecklinger, reproduced by Shep. There are
diagrams and lots of historical info for the period.
The skirt should be a 5 gore pattern. The center front is cut on the fold
and is slightly graded at the waist. The other 4 panels will be roughly
rectangles with a slight grading of the two side front edges. All will be
pleated to a waist band, with the number and width of pleats moving the
fullness to the back. A placket closing should be the finish.  Usually this
closure is center back and concealed by the pleating. I do have one
example, however that puts the closure about 5" to left center, which does
not break up the back pleats.
The above book has some nice jackets (or short gowns) that will reproduce
the basic style of the jacket in the picture. The sleeve head can be
modified to catch the late decade mode.
Keep us posted on your efforts with this project.!
Kathleen
----- Original Message ----- 
From: "Lisa A Ashton" <lisa58@juno.com>
To: <h-costume@indra.com>
Sent: Monday, May 03, 2004 10:46 AM
Subject: Re: [h-cost] Photo


> I'm not positive I understand what you mean by a "yoke" referring to a
> skirt.  Do you mean that like a yoke on a blouse, it would lie flat at
> the waistband and for about 6 inches and then the pleats or gathers would
> be taken up, effectively smoothing out the abdomen but retaining the
> fuller skirt look?
>
> I had initially though that the skirt would just be cut out in 6 gores,
> wider at the bottom.
>
> Yours in costuming, Lisa A.
>
> ________________________________________________________________
> 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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Subject: Re: [h-cost] Amusement for Elizabethan aficionados
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That applies to a lot of us!! I'm not home much on the weekends.
Grace/Jessamyn
On Monday, May 3, 2004, at 12:16 PM, Lynn Downward wrote:

> Gotta get my email at home fixed. I hate only having access on  
> weekdays!
> LynnD
>
> On 5/1/04 10:28 PM, "Robin Netherton" <robin@shell.nightowl.net> wrote:
>
>>
>> Check it out quickly; it'll be gone after Sunday:
>>
>> http://www.chron.com/content/chronicle/comics/archive/ 
>> buildcp.mpl?v=3.0&page=1
>> &quality=high&cpp=4&c=147
>>
>> Note the ruff.
>>
>> --Robin
>>
>>
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Subject: [h-cost] 16th century Purses
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I am looking for images/portraits/paintings that show purses and pouches
from the 16th C.  Specifically I am trying to track images of the metal
rings & bars that were used with these at this time.  I am slowly going
through my stash of costume & art books but it occured to me that
someone on this list might know of a particularly clear image, or if
anyone has research on this subject posted on the web.  This group seems
to be able to find anything :).

Thanks in advance,
Catherine
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Hi
 
When I enlarged the picture the whole piece with the change in the braid looks like a piece of fabric tacked to her hips to simulate a 2 piece outfit. The area above the bulge looks like the same fabric as the skirt.  There are stripes that look like they go from the waist down.
 
Has anyone considered that the photographer may have tried to make her look more stylish by changing the look of a  dress into the look of a suit?
 
The area above the right hip especially likes like folded material against her dress.  Its just not pulled very tight.
 
Becky Krueger
(I am new to responding to the list, please excuse my ignorance.)

		
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would this be a good style for a middle class religious person?

Lloyd Mitchell wrote:
> 
> Another resource you might want to check re a reconstruction is "Woman's
> Costume 1877-1885" by Charles Hecklinger, reproduced by Shep. There are
> diagrams and lots of historical info for the period.
> The skirt should be a 5 gore pattern. The center front is cut on the fold
> and is slightly graded at the waist. The other 4 panels will be roughly
> rectangles with a slight grading of the two side front edges. All will be
> pleated to a waist band, with the number and width of pleats moving the
> fullness to the back. A placket closing should be the finish.  Usually this
> closure is center back and concealed by the pleating. I do have one
> example, however that puts the closure about 5" to left center, which does
> not break up the back pleats.
> The above book has some nice jackets (or short gowns) that will reproduce
> the basic style of the jacket in the picture. The sleeve head can be
> modified to catch the late decade mode.
> Keep us posted on your efforts with this project.!
> Kathleen
> ----- Original Message -----
> From: "Lisa A Ashton" <lisa58@juno.com>
> To: <h-costume@indra.com>
> Sent: Monday, May 03, 2004 10:46 AM
> Subject: Re: [h-cost] Photo
> 
> > I'm not positive I understand what you mean by a "yoke" referring to a
> > skirt.  Do you mean that like a yoke on a blouse, it would lie flat at
> > the waistband and for about 6 inches and then the pleats or gathers would
> > be taken up, effectively smoothing out the abdomen but retaining the
> > fuller skirt look?
> >
> > I had initially though that the skirt would just be cut out in 6 gores,
> > wider at the bottom.
> >
> > Yours in costuming, Lisa A.
> >
> > ________________________________________________________________
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> I am looking for images/portraits/paintings that show purses and
> pouches from the 16th C.  Specifically I am trying to track images of
> the metal rings & bars that were used with these at this time.  I am
> slowly going through my stash of costume & art books but it occured to
> me that someone on this list might know of a particularly clear image,
> or if anyone has research on this subject posted on the web.  This
> group seems to be able to find anything :).

There is a great picture from the early 16th C of "The Tree of Jesse" 
which has several purses showing their structure. I have several 
slides of it, but unfortunately I didn't write down where it was that 
I found them.

Kat
<kat@redtrollforge.com>


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Strange as it may seem, my second view of the pic almost presented a
waist/hip line that one would see in an Elizabethan view of a 'vestigial
farthingale'...I immediately translated that to be some sort of add on to
the skirt of the jacket.  Knowing that there were no dresses of this time
period except perhaps wrappers, I do not think that the fashion of this
garment set would have simulated a two piece suit from a one piece dress.
Kathleen
----- Original Message ----- 
From: "Becky Krueger" <bk19552004@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 03, 2004 2:34 PM
Subject: [h-cost] photo


> Hi
>
> When I enlarged the picture the whole piece with the change in the braid
looks like a piece of fabric tacked to her hips to simulate a 2 piece
outfit. The area above the bulge looks like the same fabric as the skirt.
There are stripes that look like they go from the waist down.
>
> Has anyone considered that the photographer may have tried to make her
look more stylish by changing the look of a  dress into the look of a suit?
>
> The area above the right hip especially likes like folded material against
her dress.  Its just not pulled very tight.
>
> Becky Krueger
> (I am new to responding to the list, please excuse my ignorance.)
>
>
> ---------------------------------
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Photo
Date: Mon, 3 May 2004 21:33:33 -0400
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Kitty, I am not sure what you might mean by a religious person'. A nun?, a
woman with a vocation(catholic or Protestant), a conservative 'Christian',
Quaker, and etc. Referring to the pic., since she is in a traditional pose
with a man, I would suggest they were a 'couple'.
Kathleen
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 03, 2004 6:43 PM
Subject: Re: [h-cost] Photo


> would this be a good style for a middle class religious person?
>
> Lloyd Mitchell wrote:
> >
> > Another resource you might want to check re a reconstruction is "Woman's
> > Costume 1877-1885" by Charles Hecklinger, reproduced by Shep. There are
> > diagrams and lots of historical info for the period.
> > The skirt should be a 5 gore pattern. The center front is cut on the
fold
> > and is slightly graded at the waist. The other 4 panels will be roughly
> > rectangles with a slight grading of the two side front edges. All will
be
> > pleated to a waist band, with the number and width of pleats moving the
> > fullness to the back. A placket closing should be the finish.  Usually
this
> > closure is center back and concealed by the pleating. I do have one
> > example, however that puts the closure about 5" to left center, which
does
> > not break up the back pleats.
> > The above book has some nice jackets (or short gowns) that will
reproduce
> > the basic style of the jacket in the picture. The sleeve head can be
> > modified to catch the late decade mode.
> > Keep us posted on your efforts with this project.!
> > Kathleen
> > ----- Original Message -----
> > From: "Lisa A Ashton" <lisa58@juno.com>
> > To: <h-costume@indra.com>
> > Sent: Monday, May 03, 2004 10:46 AM
> > Subject: Re: [h-cost] Photo
> >
> > > I'm not positive I understand what you mean by a "yoke" referring to a
> > > skirt.  Do you mean that like a yoke on a blouse, it would lie flat at
> > > the waistband and for about 6 inches and then the pleats or gathers
would
> > > be taken up, effectively smoothing out the abdomen but retaining the
> > > fuller skirt look?
> > >
> > > I had initially though that the skirt would just be cut out in 6
gores,
> > > wider at the bottom.
> > >
> > > Yours in costuming, Lisa A.
> > >
> > > ________________________________________________________________
> > > The best thing to hit the Internet in years - Juno SpeedBand!
> > > Surf the Web up to FIVE TIMES FASTER!
> > > Only $14.95/ month - visit www.juno.com to sign up today!
> > > _______________________________________________
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> > >
> >
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Subject: Re: Re: [h-cost] Trousseau case? Modern "steamer trunk"?
	Something else?
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At Sun, 2 May 2004 14:13:30 -0500, seamstrix@juno.com wrote:

>Sounds great! My only questions are:
>
>A) Where do you find it?

A luggage vendor at a computer fair.

>B) How much is it?

He was asking $20 for it when I looked at it in the morning. When I 
returned in the afternoon, it was gone -- either someone had purchased it 
or the vendor had begun packing up for the day. He'd said it was "an $800 
value", but given the "brand" (an off-label) and quality, that was typical 
vendor overhype.

If it's meant for me to have something like, it will pop up again. As it 
is, I probably would have had to turn around and sell it again for lack of 
space to store it :(



Brenda
webwarren@earthlink.net


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From h-costume-bounces@indra.com  Tue May  4 00:59:17 2004
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Date: Tue, 04 May 2004 00:06:39 -0400
Subject: Re: [h-cost] colleges for history and construction
From: Marsha J Hamilton <mjh@pearlandplume.com>
To: Historical Costume <h-costume@indra.com>
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A question for people in the U.S.--

A friend's daughter is in college and wants to transfer to a school where
she can get into a B.A. program that offers costume and clothing history
courses but also courses on construction and sewing/tailoring techniques.

Her college has costume history courses, but while costuming a play, she
realized she needed better sewing and construction skills.

She didn't want to go to a place like FIT, because she wants a traditional
liberal arts degree (BA, BFA...)  She would also like to learn construction
techniques in a formal school setting, as opposed to taking workshops or
online courses to improve what she's doing with hands-on costuming.

I have no idea if such a program exists.  Does anyone know of a college that
offers a BA that has history and theory as well as practical skills courses?
Thanks.

Marsha

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From h-costume-bounces@indra.com  Tue May  4 01:14:41 2004
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From: "Molly Boone" <Rampant_Peacock@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] colleges for history and construction
Date: Mon, 3 May 2004 22:05:16 -0700
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Check out Washington State University in Pullman, WA.  It used to have a
Textiles BA program that used to be quite good when I was in college.   I
believe they still offer it,  From what I remember they have a variety of
design, history and technique classes.  This amuses me because the college
is in a Far Eastern Washington College town that the population quadruples
during school.  It is about 10 minutes from the Oregon border.

college link.
http://www.wsu.edu/

I'm sure there are more, but this is the one I know about.

Molly

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Marsha J Hamilton
Sent: Monday, May 03, 2004 9:07 PM
To: Historical Costume
Subject: Re: [h-cost] colleges for history and construction


A question for people in the U.S.--

A friend's daughter is in college and wants to transfer to a school where
she can get into a B.A. program that offers costume and clothing history
courses but also courses on construction and sewing/tailoring techniques.

Her college has costume history courses, but while costuming a play, she
realized she needed better sewing and construction skills.

She didn't want to go to a place like FIT, because she wants a traditional
liberal arts degree (BA, BFA...)  She would also like to learn construction
techniques in a formal school setting, as opposed to taking workshops or
online courses to improve what she's doing with hands-on costuming.

I have no idea if such a program exists.  Does anyone know of a college that
offers a BA that has history and theory as well as practical skills courses?
Thanks.

Marsha

_______________________________________________
h-costume mailing list
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http://mail.indra.com/mailman/listinfo/h-costume


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Greetings,

Washington State University (Talk to Patty Fischer, tell her I sent ya)
http://amdt.wsu.edu/

Oregon State University (Where I am now)
http://www.hhs.oregonstate.edu/aihm/index.html

Althea

On Monday, May 3, 2004, at 09:06 PM, Marsha J Hamilton wrote:

> A question for people in the U.S.--
>
> A friend's daughter is in college and wants to transfer to a school 
> where
> she can get into a B.A. program that offers costume and clothing 
> history
> courses but also courses on construction and sewing/tailoring 
> techniques.
>
> Her college has costume history courses, but while costuming a play, 
> she
> realized she needed better sewing and construction skills.
>
> She didn't want to go to a place like FIT, because she wants a 
> traditional
> liberal arts degree (BA, BFA...)  She would also like to learn 
> construction
> techniques in a formal school setting, as opposed to taking workshops 
> or
> online courses to improve what she's doing with hands-on costuming.
>
> I have no idea if such a program exists.  Does anyone know of a 
> college that
> offers a BA that has history and theory as well as practical skills 
> courses?
> Thanks.
>
> Marsha
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Public Relations Manager
Sauron/Voldemort 2004

Bush/Cheney - Bringing Bigotry back to the Constitution.

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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] colleges for history and construction
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Marsha,

I took traditional sewing classes in the HomeEc. Ed. dept. at the University
of New Mexico.  I know when I was at Virginia Commonwealth University
sewing/draping/patternmaking classes are offered under the Costume Design
and Fashion Design majors in the Fashion Department.  The students cross
over in departments.  Also for the fashion history... pre-20th Century
courses were taught in the Costume Design dept. and the 20th Century fashion
history in the Fashion dept.

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


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At 09:26 AM 5/1/2004 -0500, you wrote:
>I would like to find some good pictoral examples of upper class girdles
>(and footwear) from the early to mid 1500's, such that would be
>appropriate for trips to town. Any suggestions on helpful sites? I am
>targeting western europe, specifically the Scottish highlands.
>Cheers,
>Joe


Hi Joe,

I would love to find them too.

Most portraits of nobles of that time are either English, or a bust up 
view. Drawings, well, you have what I have.

Kimiko


Kimiko Small
Owner & Creator of DreamTime Studios; Website TBA.

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

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Subject: [h-cost] "For those on the list who have asked for a copy of my
	Puff & Slash handout, I will be teaching a class...." 
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Hi folks, at the suggestion of someone on these lists I am letting folks
know that I will be teaching this class at the Collegium Nebularum on June
26 th in Concord, California.  This is an SCA event, but the 'public' is
always invited.  Please see details here:

 

http://www.phmoms.com/CollegiumNebularum.html

 

For those who are unable to make it, the handout is available here:
http://www.grimmarmoury.com/docs/PS_2003_Entire_Doc.pdf

Graciously hosted by Jason of the Grimm Armoury.  WARNING, this is a BEAST
of a document and will take a long time to load and download. 

 

I have not yet incorporated them, but I have been provided very nice
constructive criticisms by Julie from San Diego!  Soon, soon.. :-) 


Sg

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Subject: Re: [h-cost] colleges for history and construction
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      On Friday, I was just down to a college in New York - far, far out
from New York City, a very small city out in the agricultural part of New
York State, a bit over an hour from where I live.  SUNY Oneonta offers one,
in a brand new bulding, that can also have components with FIT or in London.
They have a wonderful new climate-controlled room for their historical
collection - I had the best time of the day just opening cabinents and
drawers and looking, since they had left in unlocked for our tour.  There
are a LOT of times that being a Home Ec (FaCS) teacher is fun!

      S.U.N.Y. College at Oneonta offers two alternatives to prepare for a
career in fashion. First, four years are completed at S.U.N.Y. Oneonta to
receive a B.S. Degree. Students may enhance this degree by studying abroad,
completing a fashion industry internship, and by completing a minor in a
complementary field of study (i.e. art, business, communications, foreign
language). Second, is the 3:1 cooperative program with the Fashion Institute
of Technology (F.I.T.) in New York City. In this cooperative program,
degrees include B.S. from Oneonta and an A.A.S. from F.I.T. through majors
in Fashion Merchandising, Marketing, Fashion Design, Advertising and
Communication, Advertising Design, Apparel Production Management, Textile
Design, Textile Development and Marketing, Jewelry Design, and Accessory
Design.
      Degrees
      Bachelors of Science

      Majors
      General Human Ecology
      General Human Ecology -- Emphases in:
               Apparel and Textiles (Fashion)
      Options in cooperation with the Fashion Institute of Technology:
           Accessories Design
           Advertising and Marketing Communications
           Advertising Design
           Fashions Merchandising Management
           Textile Development and Marketing
           Textile/Surface Design
      Options in cooperation with the American InterContinental University
in London:
           Fashion Design
           Fashion Marketing
      Minors
      Apparel and Textiles


      Fashion Courses
      FASH 120 Socio-Psychological Aspects of Dress (3 s.h.)
      FASH 121 Apparel Construction (3 s.h.)
      The course emphasizes design principles, fabric selection, alterations
and fit, and relationship to quality garment construction. Management
skills, selection, and operation of equipment, various sewing techniques for
individual fabrics and garments are stressed. Additional student costs vary
with project choice. (CPA)
      FASH 123 Quality Analysis of Apparel Products (3 s.h.)
      FASH 220 Textiles (3 s.h.)
      A study of fibers, yarns, and the construction and finish of fabrics
as a basis for selection, care, and use. Laboratory work consists of use of
various methods and testing instruments to evaluate physical and chemical
properties. FASH 220 is a writing intensive course focusing on technical
writing. Students submit 10 laboratory reports and an experimental fabric
report. (CPA, CW)
      FASH 221 Apparel in Today's Economy (3 s.h.)
      FASH 222 Apparel Design--Flat Pattern
      Principles of flat pattern design with particular emphasis given to
development of individual design and creation of a sloper. Construction
stresses advanced techniques. Additional student costs vary with project
choice. (CPA)
      FASH 223 Computer Applications: Fashion (3 s.h.)
      Introduction to computer applications in the fashion business in the
fields of design and merchandising. Both CAD and spreadsheet software will
be used.
      FASH 224 History of Costume I (3 s.h.)
      A survey of costume in Western Civilization from the days of ancient
Egypt to the 1970's. Each period is explored through the historical,
political, economic, and religious factors which are mirrored in dress and
other aesthetic activities of a period.  (LA, CPA, IH)
      FASH 225 History of Costume II (1 s.h.)
      A survey of costume in the 19th and 20th centuries, pointing out
social, political, economic, and religious factors that are mirrored in
dress and other aesthetic activities of a period. (CPA)
      FASH 226 Apparel DesignDraping (3 s.h.)
      A study of the fundamental principles and techniques of draping
fabrics. The manipulation of fabric to obtain harmony between desired
design, the fabric, and figure of the wearer. Encourage imagination in the
original use of fabric and line in dress. (CPA)
      FASH 227 Personal Coloring Systems and Analysis (1 s.h.)
      FASH 228 Fashion Illustration and Design (3 s.h.)
      FASH 229 Fashion Marketing (3 s.h.)
      FASH 280 Interior Design (3 s.h.)
      FASH 282 Professional Seminar: Fashion (1 s.h.)
      Explore potential internship or career opportunities available in the
fashion industry; fine tune the professional design portfolio/zine; prepare
a professional resume and cover letter; develop effective job searching
techniques; and examine various interviewing techniques. Junior status,
Human Ecology major.
      FASH 323 Promotional Techniques in the Apparel Industry (3 s.h.)
      FASH 324 Fashion Merchandising (3 s.h.)
      FASH 325 Case Studies in Apparel Design (3 s.h.)
      An advanced course applying flat pattern or draping principles and
techniques to creating designs for various segments in the fashion industry.
A study of historical influences, advanced design and sketching techniques,
industry methods, and inspiration sources.



----- Original Message ----- 
From: "Marsha J Hamilton"
snippped
\ She didn't want to go to a place like FIT, because she wants a traditional
> liberal arts degree (BA, BFA...)  She would also like to learn
construction
> techniques in a formal school setting, as opposed to taking workshops or
> online courses to improve what she's doing with hands-on costuming.
>
> I have no idea if such a program exists.  Does anyone know of a college
that
> offers a BA that has history and theory as well as practical skills
courses?
> Thanks.


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] colleges for history and construction
Date: Tue, 4 May 2004 08:22:50 -0400
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Status: RO

If she wants to stay on the east coast -- look into Rutgers/Mason Gross. I
know the BFA/MFA program offers a lot.  Don't know about the BA program.
Kate
***
----- Original Message ----- 
From: "Marsha J Hamilton" <mjh@pearlandplume.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 04, 2004 12:06 AM
Subject: Re: [h-cost] colleges for history and construction


> A question for people in the U.S.--
>
> A friend's daughter is in college and wants to transfer to a school where
> she can get into a B.A. program that offers costume and clothing history
> courses but also courses on construction and sewing/tailoring techniques.
>
> Her college has costume history courses, but while costuming a play, she
> realized she needed better sewing and construction skills.
>
> She didn't want to go to a place like FIT, because she wants a traditional
> liberal arts degree (BA, BFA...)  She would also like to learn
construction
> techniques in a formal school setting, as opposed to taking workshops or
> online courses to improve what she's doing with hands-on costuming.
>
> I have no idea if such a program exists.  Does anyone know of a college
that
> offers a BA that has history and theory as well as practical skills
courses?
> Thanks.
>
> Marsha
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>


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Date: Tue, 4 May 2004 05:11:29 -0700 (PDT)
From: Kay Shelton <delasue@yahoo.com>
Subject: Re: [h-cost] Word and Image: The Trevelyon Miscellany of 1608
To: h-costume@indra.com
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>> A kind soul who viewed my website where I mentioned

"Miscellany by Thomas
> Trevelyon. Published in 1608. 100 pages of
embroidery patterns, including 20 cap patterns.<<

I've seen the exhibit.  The book isn't really pages of
embroidery patterns, but is a compliation of many
things taken from many sources (uncited by Trevelyon)
with an extensive amount of decorative borders, etc.,
which could be used as embroidery patterns.  It is
believed that Trevelyon was an embroiderer, although
not much is known about him.  The cap patterns are the
only embroidery patterns as such although many of the
other designs could be used as patterns according to
the exhibit.

I don't believe the book has been reproduced.  There
isn't a copy selling in the bookstore of the Folger.

Any other questions about the exhibit I could answer?

Kay



	
		
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Date: Tue, 04 May 2004 05:30:42 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 16th century Purses
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>Specifically I am trying to track images of the metal
>rings & bars that were used with these at this time.

Dover re-issued a collection catalog of ironwork, called something like
Decorative Ironwork, which has a couple of what look like Renaissance metal
purse frames.  Nothing in the book is especially dated, or provenanced, but
that's sure what these pieces look like to me.

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

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Status: RO

Thank you all again for your help so far--I am collating all the
different comments into various categories; however, and this is the
sneaky part, I find I have come uup with more questions, rather than more
answers!

Looking at the photo very carefully, I think that the hip "bulge", which
is clearly circumferential, could be from the bottom edge of the corset,
as it "drapes down" just below, where the rigid structural effect would
stop.  Question--whta sort of corset?  i.e. what years, style?  I have
been looking thorugh the patternsoftime website, very helpful, thank you
for the suggestion, and they have multiple corsets for that period. 
Keeping in mind that we would be thinking about Eastern Europe here....

Although the skirt front needs ironing, I think it is more like a 7- or
9-gore skirt than a 4- or 5-gore skirt, and may well have extra fullness
(or even a bustle, although that actually begins to seems less likely) in
the back.  It does not seem to have any sort of train.

What sort of petticoat would you expect under it?  What would have been
the fabric choices for the corset and the petticoat--linen?

I looked at the bodice/jacket pattern TV460 (page 52 of the catalog). 
Then I stared at the photo--I don't see any obvious front closures or
buttons.  Would the front have a somewhat offset (to the side) opening,
or would the buttons just have been "under" the outside of the jacket and
unseen, leaving that small narrow center area fairly smooth?  She was not
a woman with any maids, I assure you, she would have had to dress herself
without assistance.  Actually, pattern TV420 looks closer to the photo.

What sort of hat might she have worn?  I know there isn't one in the
photo, but I would like to make an appropriate one for the
presentation--for her to take off as she enters the photographer's studio
and primps a bit.

What might the braided decoration have been made of--a sort of knit black
silk tube?  What would be a resource for finding the braid, and either
buying it, or making it?  

Yours in costuming, Lisa A.

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Yes, the only old clothes preserved in our family history were some
beautiful things knitted by my grandmother, for my mother, back in the
50's--the matching sleeveless sweaters and  cardigans popular then, and a
few things she knit for me when I was young.  I never met the woman in
the photo--my great-grandmother,and my family at that time were
immigrants who came over with nothing much.  Although the photo was taken
while she was still in Odessa, and probably just married.  It is
unlikely, given the mores of that time, she would have been photographed
with a man not (yet) her husband.

On Mon, 03 May 2004 12:07:31 -0400 Kitty Felton
<basyefelton@floodcity.net> writes:
> yes, that is what a skirt yoke is like, and that is what it looks 
> like
> to me.  I assume the garment itself it long gone?   
> kitty

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
Subject: Re: [h-cost] colleges for history and construction
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It's not quite US, but if you don't mind going north, there is Dalhousie University (Halifax, Nova Scotia) theatrical costuming program - http://www.dal.ca/~costume/index.shtml
and their history department-
http://www.dal.ca/~histwww/Home.htm
tuition would be cheaper too - Canadian prices! ;-) 
 
Kathy



Subject: Re: [h-cost] colleges for history and construction


A question for people in the U.S.--

A friend's daughter is in college and wants to transfer to a school where she can get into a B.A. program that offers costume and clothing history courses but also courses on construction and sewing/tailoring techniques.

Her college has costume history courses, but while costuming a play, she realized she needed better sewing and construction skills.

She didn't want to go to a place like FIT, because she wants a traditional liberal arts degree (BA, BFA...) She would also like to learn construction techniques in a formal school setting, as opposed to taking workshops or online courses to improve what she's doing with hands-on costuming.

I have no idea if such a program exists. Does anyone know of a college that offers a BA that has history and theory as well as practical skills courses?
Thanks.

Marsha



---------------------------------
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I took another look at the photo last night.  I don't know much about 
this period, but it almost looks like huge pockets, what with the roll 
of the edge and all.  That sounds very odd, from what little I have heard!

-- 
Cynthia Virtue and/or
Cynthia du PrÃ© Argent
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Subject: Re: [h-cost] colleges for history and construction
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Marsha,

FIT does offer AA., BS, and BFA degrees as well as Master's degrees.  Have a
look at
http://www.fitnyc.suny.edu/aspx/Content.aspx?menu=Future:SchoolsAndPrograms
The name is a bit deceiving but it is a fully fledged college and part of
the State University of New York System.  Their core basic education courses
are found at
http://www.fitnyc.suny.edu/aspx/Content.aspx?menu=Future:SchoolsAndPrograms:
SUNYsGeneralEducationRequirements

It's well worth considering.  My only regret is that I didn't take more
classes there when I lived in New York, and that my costuming interested
hadn't surfaced enough for me to appreciate what an educational opportunity
was at hand.

Lisa Sinervo
www.thrednedlestrete.com

----- Original Message -----
From: "Marsha J Hamilton" <mjh@pearlandplume.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 03, 2004 9:06 PM
Subject: Re: [h-cost] colleges for history and construction


> A question for people in the U.S.--
>
> A friend's daughter is in college and wants to transfer to a school where
> she can get into a B.A. program that offers costume and clothing history
> courses but also courses on construction and sewing/tailoring techniques.
>
> Her college has costume history courses, but while costuming a play, she
> realized she needed better sewing and construction skills.
>
> She didn't want to go to a place like FIT, because she wants a traditional
> liberal arts degree (BA, BFA...)  She would also like to learn
construction
> techniques in a formal school setting, as opposed to taking workshops or
> online courses to improve what she's doing with hands-on costuming.
>
> I have no idea if such a program exists.  Does anyone know of a college
that
> offers a BA that has history and theory as well as practical skills
courses?
> Thanks.
>
> Marsha
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] colleges for history and construction
Date: Tue, 4 May 2004 07:04:17 -0700
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San Francisco State has both a theatre degree and a home ec (er, 
Consumer Sciences) degree, those two could be combined.


On May 3, 2004, at 10:14 PM, Althea Turner wrote:

> Greetings,
>
> Washington State University (Talk to Patty Fischer, tell her I sent ya)
> http://amdt.wsu.edu/
>
> Oregon State University (Where I am now)
> http://www.hhs.oregonstate.edu/aihm/index.html
>
> Althea
>
> On Monday, May 3, 2004, at 09:06 PM, Marsha J Hamilton wrote:
>
>> A question for people in the U.S.--
>>
>> A friend's daughter is in college and wants to transfer to a school 
>> where
>> she can get into a B.A. program that offers costume and clothing 
>> history
>> courses but also courses on construction and sewing/tailoring 
>> techniques.
>>
>> Her college has costume history courses, but while costuming a play, 
>> she
>> realized she needed better sewing and construction skills.
>>
>> She didn't want to go to a place like FIT, because she wants a 
>> traditional
>> liberal arts degree (BA, BFA...)  She would also like to learn 
>> construction
>> techniques in a formal school setting, as opposed to taking workshops 
>> or
>> online courses to improve what she's doing with hands-on costuming.
>>
>> I have no idea if such a program exists.  Does anyone know of a 
>> college that
>> offers a BA that has history and theory as well as practical skills 
>> courses?
>> Thanks.
>>
>> Marsha
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
> Althea Turner
> *** althea@alfalfapress.com
> *** http://www.alfalfapress.com
>
> Public Relations Manager
> Sauron/Voldemort 2004
>
> Bush/Cheney - Bringing Bigotry back to the Constitution.
>
> _______________________________________________
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>

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I realize I'm prejudiced, because my background is "home economics," but I 
recommend one of the state school programs that have been suggested--like Wash. 
State or SUNY-Oneonta.  That coop program with FIT sounds wonderful, if you 
can afford it!  Check out your own state's family and consumer sciences program, 
too, if they still have one--these programs are going away in some places.  
Nothing against theater, but I think you will get more in-depth solid 
construction experience in an FCS program.  You will also take at least one class in 
textiles, which is very important to understanding clothing construction and 
care.
 
Ann Wass
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Saragrace T. Knauf wrote:

> 
> For those who are unable to make it, the handout is available here:
> http://www.grimmarmoury.com/docs/PS_2003_Entire_Doc.pdf
> 
> Graciously hosted by Jason of the Grimm Armoury.  WARNING, this is a BEAST
> of a document and will take a long time to load and download. 
> 

I'm getting a 'grimmarmoury.com cannot be found' error when I try that 
address.



Dawn




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From: Kitty Felton <basyefelton@floodcity.net>
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Subject: [h-cost] Re: Conservative dress of the Victorian era.
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Lloyd Mitchell wrote:
> 
> Kitty, I am not sure what you might mean by a religious person'. A nun?, a
> woman with a vocation(catholic or Protestant), a conservative 'Christian',
> Quaker, and etc. Referring to the pic., since she is in a traditional pose
> with a man, I would suggest they were a 'couple'.
> Kathleen



by a religious person, I meant a conservative christian.   this doesn't
necessarily mean she wouldn't have been a wife.  my question relates to
my search for what sort of garments I would wear if I were trying to
dress not in a very fashionable style but in a more conservative way.  
while a dress like a wedding cake is pretty to look at, it just doesn't
seem like something I would enjoy wearing.   I would like to learn what 
conservative person of the CW or post CW era would wear.  would she wear
hoops?  how large?   I imagine a washer woman would not, but what would
a middle class person wear?   I like the look of the skirts swept to the
back, but do not like the strange corsets of the turn of the century.  
is there a middle ground?   

Kitty

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Subject: Re: [h-cost] Re: Conservative dress of the Victorian era.
From: Sylvia <sylvia@ntw.net>
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I didnt see your original post so I'm not sure what you are dressing for,
but I think a conservative woman would still try to be fashionable, though
not flashy.  You would wear hoops if you're doing 1860s and a bustle for the
1870s or 1880s, although the underbustle structure was not used for that
entire period.  I think to say conservative would mean more somber colors,
high necks, long sleeves, less trim.

Sylrog

> From: Kitty Felton <basyefelton@floodcity.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Tue, 04 May 2004 10:52:18 -0400
> To: Historical Costume <h-costume@indra.com>
> Subject: [h-cost] Re: Conservative dress of the Victorian era.
> 
> Lloyd Mitchell wrote:
>> 
>> Kitty, I am not sure what you might mean by a religious person'. A nun?, a
>> woman with a vocation(catholic or Protestant), a conservative 'Christian',
>> Quaker, and etc. Referring to the pic., since she is in a traditional pose
>> with a man, I would suggest they were a 'couple'.
>> Kathleen
> 
> 
> 
> by a religious person, I meant a conservative christian.   this doesn't
> necessarily mean she wouldn't have been a wife.  my question relates to
> my search for what sort of garments I would wear if I were trying to
> dress not in a very fashionable style but in a more conservative way.
> while a dress like a wedding cake is pretty to look at, it just doesn't
> seem like something I would enjoy wearing.   I would like to learn what
> conservative person of the CW or post CW era would wear.  would she wear
> hoops?  how large?   I imagine a washer woman would not, but what would
> a middle class person wear?   I like the look of the skirts swept to the
> back, but do not like the strange corsets of the turn of the century.
> is there a middle ground?
> 
> Kitty
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Date: Tue, 4 May 2004 07:57:23 -0700
Subject: Re: [h-cost] Word and Image: The Trevelyon Miscellany of 1608
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Ooo, cool!! Are any images available on line?

Thanks1

Arlys

On Tue, 4 May 2004 05:11:29 -0700 (PDT) Kay Shelton <delasue@yahoo.com>
writes:
> >> A kind soul who viewed my website where I mentioned
> 
> "Miscellany by Thomas
> > Trevelyon. Published in 1608. 100 pages of
> embroidery patterns, including 20 cap patterns.<<
> 
> I've seen the exhibit.  The book isn't really pages of
> embroidery patterns, but is a compliation of many
> things taken from many sources (uncited by Trevelyon)
> with an extensive amount of decorative borders, etc.,
> which could be used as embroidery patterns.  It is
> believed that Trevelyon was an embroiderer, although
> not much is known about him.  The cap patterns are the
> only embroidery patterns as such although many of the
> other designs could be used as patterns according to
> the exhibit.
> 
> I don't believe the book has been reproduced.  There
> isn't a copy selling in the bookstore of the Folger.
> 
> Any other questions about the exhibit I could answer?
> 
> Kay
> 
> 
> 
> 	
> 		
> __________________________________
> Do you Yahoo!?
> Win a $20,000 Career Makeover at Yahoo! HotJobs  
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> _______________________________________________
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Date: Tue, 4 May 2004 08:24:28 -0700 (PDT)
From: Nightwing Whitehead <nightwingwhitehead@yahoo.com>
Subject: Re: [h-cost] colleges for history and construction
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OK, let me jump into the fray and offer up my alma mater-  Philadelphia
University (aka Philadelphia College of Textile and Science). They do
not offer a costuming degree, I got a Bachelor of Science degree in
Fashion Design, but comparing what I learned with a grad student from
Derexel (another good choice) we found I was learning the same things
she was.  Itt's a well-rounded education with Liberal Arts, Business,
Maths, World Politics.  And, the classes in Fabrics, Construction,
Draping, Flat Pattern, Design, Portfolio, and Drawing are *fabulous*. 
You can check them out at www.philau.edu (and yes, tell Clara or Anne
or Jane or anyone else in the textile dept. that I sent you!)

=====
Nightwing Whitehead       Fashion Designer     www.nightwingwhitehead.com      by appointment    860-402-0847


	
		
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Subject: [h-cost] Hose VS Tights
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I am soon going to start making a couple sets of hose for my various
outfits.  (Italian Ren and a Houppenlaude)  I've got some ideas on how to
construct the hose but I have a different question.  How are hose supposed
to fit compared to tights?  Since I dance ballet mundanely I've always just
used a pair of dance tights.  Now I'm trying to be more authentic but I'm
not entirely sure I understand how hose are supposed to fit.

Since all dance tights have a high spandex content getting a close fit isn't
really a problem.  But when I make my new hose out of cotton or linen I'm
not going to have that same "automatically fits you" feeling.  I'm assuming
this means that I need to do a lot of measuring to make sure the hose are
fitted.  My question is how tightly fitted were hose?  They couldn't have
the same second skin feeling as tights since that would restrict movement.
So what feeling am I looking for when I try to size the hose?  How tight or
loose are they supposed to be made?

Another area I'm wondering about is the knee.  Even in dance tights there
can sometimes be a tendency for the material around the knee to stretch more
then the rest of the tights and then sort of pouch up when the leg is
straigtened again.  How is this handled with hose?  Extra material around
the knee that will always be baggy when the leg is straightened but fits
comfortable when the knee is bent?

Final question, what's the most common way that other people use to hold
their hose up?  Since they don't have the elastic/spandex like modern tights
there must be something like a drawstring or ties of some type right?

I know these are really weird questions.  I've found however that when I
start working on a garment I can make decisions about it's construction much
better if I have a good idea of how the clothes should look and feel in the
end.  If I just follow a pattern without truly understanding how the
finished clothes will feel it doesn't work out right.  And since my only
similar experience with leg coverings like that is dance then I really don't
know what I'm trying to do yet.

Bjorn Arnaldsson
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <20040504.083423.-179921.0.lisa58@juno.com>
Subject: Re: [h-cost] sepia photo
Date: Tue, 4 May 2004 12:28:19 -0400
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Status: RO

Lisa, it you look at pattern shapes for skirts in the period, they are
'block' style and extant ones in my collection vary from about 92" to 108"
max.  it is my understanding that an average width of fabric was about22' to
29/30" depending on the fiber. In almost all cases, skirts that I have use
lengths of fabric which include the selvedges so no vertical cutting was
necessary. Only the graded front panel is cut.
The corset would have snugged the body at the hipline, so I donot see that
this could be the cause of the 'bulge'. If the jacket skirt was added on to
for a more fashionable length, however, this could account for the queerness
of the picture.
The jacket is probably fastened first inside by a series of hooks and eyes
that firmly bring the front lining together, and then another set of hooks
and eyes somewhat concealed over the center front.
There are lots of good hats and assessories material for you to dream up the
total ensemble.
Kathleen
 of ----- Original Message ----- 
From: "Lisa A Ashton" <lisa58@juno.com>
To: <h-costume@indra.com>
Sent: Tuesday, May 04, 2004 10:59 AM
Subject: Re: [h-cost] sepia photo


> Thank you all again for your help so far--I am collating all the
> different comments into various categories; however, and this is the
> sneaky part, I find I have come uup with more questions, rather than more
> answers!
>
> Looking at the photo very carefully, I think that the hip "bulge", which
> is clearly circumferential, could be from the bottom edge of the corset,
> as it "drapes down" just below, where the rigid structural effect would
> stop.  Question--whta sort of corset?  i.e. what years, style?  I have
> been looking thorugh the patternsoftime website, very helpful, thank you
> for the suggestion, and they have multiple corsets for that period.
> Keeping in mind that we would be thinking about Eastern Europe here....
>
> Although the skirt front needs ironing, I think it is more like a 7- or
> 9-gore skirt than a 4- or 5-gore skirt, and may well have extra fullness
> (or even a bustle, although that actually begins to seems less likely) in
> the back.  It does not seem to have any sort of train.
>
> What sort of petticoat would you expect under it?  What would have been
> the fabric choices for the corset and the petticoat--linen?
>
> I looked at the bodice/jacket pattern TV460 (page 52 of the catalog).
> Then I stared at the photo--I don't see any obvious front closures or
> buttons.  Would the front have a somewhat offset (to the side) opening,
> or would the buttons just have been "under" the outside of the jacket and
> unseen, leaving that small narrow center area fairly smooth?  She was not
> a woman with any maids, I assure you, she would have had to dress herself
> without assistance.  Actually, pattern TV420 looks closer to the photo.
>
> What sort of hat might she have worn?  I know there isn't one in the
> photo, but I would like to make an appropriate one for the
> presentation--for her to take off as she enters the photographer's studio
> and primps a bit.
>
> What might the braided decoration have been made of--a sort of knit black
> silk tube?  What would be a resource for finding the braid, and either
> buying it, or making it?
>
> Yours in costuming, Lisa A.
>
> ________________________________________________________________
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Subject: [h-cost] CW  middleclass
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Status: RO

Hello everyone, Newbie here.  I hope to learn much and maybe help once in
awhile.

 

A question was posed about what a middle class woman would wear in the CW
and near post CW era.  I am currently working on a dress from the 1850's .
During the research I have done, and talking with re-enactors that are very
involved with an organization from that time period. 

 

If you were married you wore more somber colors. Dark blue, dark green,
grey, black.  High neck, long sleeves, with under sleeves. You would
probably be wearing some version of mourning colors as you most likely knew
someone killed in the CW. 

 

If you were from the South, you had feathers on your hats, and fancier trim
on your dresses. ( so I've heard)  northern gals didn't have feathers if you
were proper. 

 

If you were in a camp dress, you probably didn't use hoops. Most likely a
couple petticoats. Probably not a corset, but a stay. 

Ditto on the stay if you were pregnant.  If you were dressed to go to town,
or a social function, you did wear a corset. 

 

Younger women that were not married wore much lighter colors. And women of
improper virture wore red.  

Hope this helps. 

Terese in Michigan

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Subject: Re: [h-cost] Re: Conservative dress of the Victorian era.
Date: Tue, 4 May 2004 12:36:52 -0400
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Status: RO

That was my first take, re conservative Christian. A two piece dress of
jacket and skirt that is not ostentatious in either color or ornamentation.
Fran Grimbals book of Reconstruction Era Patterns gives lots of
possibilities. Pick your decade or portion thereof and see what you like. I
have a lot of photos of this period and there are also some Dover reprints
that give a good overview, having been taken from magazines of the period.
Kathleen
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 04, 2004 10:52 AM
Subject: [h-cost] Re: Conservative dress of the Victorian era.


> Lloyd Mitchell wrote:
> >
> > Kitty, I am not sure what you might mean by a religious person'. A nun?,
a
> > woman with a vocation(catholic or Protestant), a conservative
'Christian',
> > Quaker, and etc. Referring to the pic., since she is in a traditional
pose
> > with a man, I would suggest they were a 'couple'.
> > Kathleen
>
>
>
> by a religious person, I meant a conservative christian.   this doesn't
> necessarily mean she wouldn't have been a wife.  my question relates to
> my search for what sort of garments I would wear if I were trying to
> dress not in a very fashionable style but in a more conservative way.
> while a dress like a wedding cake is pretty to look at, it just doesn't
> seem like something I would enjoy wearing.   I would like to learn what
> conservative person of the CW or post CW era would wear.  would she wear
> hoops?  how large?   I imagine a washer woman would not, but what would
> a middle class person wear?   I like the look of the skirts swept to the
> back, but do not like the strange corsets of the turn of the century.
> is there a middle ground?
>
> Kitty
>
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From: Kay Shelton <delasue@yahoo.com>
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Wow.  I googled the Folger and there is really quite a
bit on line, including embroidery patterns.  Probably
best to print out, as I suspect they will change the
link when their exhibit changes.

http://www.folger.edu/public/exhibit/current.asp

Kay

<<Ooo, cool!! Are any images available on line?

Thanks1

Arlys

> Any other questions about the exhibit I could 
answer?
> 
> Kay



	
		
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> I am soon going to start making a couple sets of hose for my various
> outfits.  (Italian Ren and a Houppenlaude)  I've got some ideas on how
> to construct the hose but I have a different question.  How are hose
> supposed to fit compared to tights?  Since I dance ballet mundanely
> I've always just used a pair of dance tights.  Now I'm trying to be
> more authentic but I'm not entirely sure I understand how hose are
> supposed to fit.

Joined hose (ie "tights") seem to start showing up around 1500. 
Before that they were two separate legs (and not connected.)

As far as the fit, they are shown as being as form fitting as tights 
except for the middle and lower classes. I don't know how much of 
that is "artistic license" and how well they really did fit. But 
then, they were working with textiles that behave differently than 
our modern ones do. Their textiles do seem to have more "give" and 
"elasticity" than we'd think they would when compared to modern 
"equivalents." Because of that natural elasticity, they wouldn't bag 
as much either. The artists do show some creases at the knee which 
look very much like those that tights get when the knee is bent, 
which makes me lean more toward good fit as opposed to "artistic 
license."

Most of the hose seem to be held up by tying them to the layers of 
the upper body. (You can see this mostly when the person is working 
or slovenly and has untied them for more ease of movement or 
necessity for functions which require the back of the drawers to be 
dropped.)

I'd give you some pics to look at but my sources are all in slide 
form (from a class I teach on Western European medieval and 
renaissance underwear.)

I hope this gives you a starting point at least.

Kat
<kat@redtrollforge.com>


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Subject: RE: [h-cost] Hose VS Tights
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Nathan,

The joined hosen start in the 15th century, early to mid 1400s. They
were usually made of 2x2 twill wool cut on the bias for a good stretch
to fit around the whole leg without stretching the fabric. These are
then attached to your doublet or pourpointe (if you're not wearing a
doublet) via lacing holes as they ride on the hips rather than the
waist. 

Then the gown or houppelaunde(sp?) would be worn over the doublet.

The best way to have these made to fit would be to have someone fit them
directly to you. 

The information above is what our 15th century living history group uses
for the men's hose. We are based in the DC area. 

Nathan, don't you play in the SCA with the Barony of Ponte Alto every
now and then when you aren't at school??

Let me know. If so, then I think I know who can help you understand more
about this.

Thanks!

Kim

Kimberly Hulse
SCA: Katharine Devereaux
Alexandria, VA

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of kat@grendal.rain.com
Sent: Tuesday, May 04, 2004 12:59 PM
To: Historical Costume
Subject: Re: [h-cost] Hose VS Tights


> I am soon going to start making a couple sets of hose for my various
> outfits.  (Italian Ren and a Houppenlaude)  I've got some ideas on how
> to construct the hose but I have a different question.  How are hose
> supposed to fit compared to tights?  Since I dance ballet mundanely
> I've always just used a pair of dance tights.  Now I'm trying to be
> more authentic but I'm not entirely sure I understand how hose are
> supposed to fit.

Joined hose (ie "tights") seem to start showing up around 1500. 
Before that they were two separate legs (and not connected.)

As far as the fit, they are shown as being as form fitting as tights 
except for the middle and lower classes. I don't know how much of 
that is "artistic license" and how well they really did fit. But 
then, they were working with textiles that behave differently than 
our modern ones do. Their textiles do seem to have more "give" and 
"elasticity" than we'd think they would when compared to modern 
"equivalents." Because of that natural elasticity, they wouldn't bag 
as much either. The artists do show some creases at the knee which 
look very much like those that tights get when the knee is bent, 
which makes me lean more toward good fit as opposed to "artistic 
license."

Most of the hose seem to be held up by tying them to the layers of 
the upper body. (You can see this mostly when the person is working 
or slovenly and has untied them for more ease of movement or 
necessity for functions which require the back of the drawers to be 
dropped.)

I'd give you some pics to look at but my sources are all in slide 
form (from a class I teach on Western European medieval and 
renaissance underwear.)

I hope this gives you a starting point at least.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Eterna silk floss
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What's the best place to order Eterna floss from?

Also -- I've never used it before, and I'm going to be using it to 
stitch a border around the edge of a self-fabric applique on a 
stomacher.  (This is for a modern wedding dress, and I wanted to dress 
up the cut edge a bit.)  Can anyone give me a ballpark of how much I 
should order?  I'm having a more experienced needleworker do the 
embroidery, but I need to do the ordering...

Thank you!
.heather.

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Therese wrote:
<<....and talking with re-enactors that are very involved with an organization from that time period>> 

At the risk of sounding like a real grinch, I would be VERY interested in hearing the documentation these folks used for some of their statements. "Myths" and "reenactorisms" like these have been perpetuated for decades without any solid research or documentation.  

<<If you were married you wore more somber colors. Dark blue, dark green, grey, black.  High neck, long sleeves, with under sleeves.>>

There is no factual basis for this statement. There are literally hundreds of original garments documented to the age and marital status of the wearer that are made of brighter colors and patterns.  Whether a dress has a high or low neckline, short or long sleeves, etc. depends much more on the overall style of the garment, the occasion for which it is worn, and the socio-economic class of the wearer than it does on marital status.

<<You would probably be wearing some version of mourning colors as you most likely knew someone killed in the CW.>>

Not everyone wore mourning, and not everyone followed mourning dictates. Again, socio-economic status, customs, and personal preferences would determine if, where or when someone chose to don mourning dress. 

<<If you were from the South, you had feathers on your hats, and fancier trim on your dresses. ( so I've heard)  northern gals didn't have feathers if you were proper.>>

This is so patently false it is outrageous. I suspect the underlying source for this statement has more to do with Hollywood than it does with an history. 

<<If you were in a camp dress, you probably didn't use hoops. Most likely a couple petticoats. Probably not a corset, but a stay.>>

The term "camp dress" did not exist in the mid-19th century.  It is an advertising term used by modern vendors to sell what is more properly called a "wash dress".  Wash dresses may have been worn over petticoats when doing physical labor, but on most other occasions they were worn over a (properly-sized) crinoline.  While stays may have been worn by some women (more likely older women who were used to and comfortable with their fit), corsets were the most common form of supportive undergarment.  The number of women who had legitimate reasons for being in a military camp were infintesimal when compared to the overall female population.  Of those that did have reason for being there, the vast majority of them dressed no differently from any other woman of the period.  

<<Ditto on the stay if you were pregnant.>>
There is evidence of the use of gestational (maternity) stays,  primarily in the antebellum years, and they may have continued to be worn by some women.  However, gestational corsets were also available.  My research indicates corsets, including the gestational versions, were much more common than stays during this period.
 
<<If you were dressed to go to town, or a social function, you did wear a corset.>>

Research indicates that corsets were worn daily from morning to night for all occasions, not just for specific events. Going without one would be extremely uncomfortable and highly unusual.

<<Younger women that were not married wore much lighter colors.>>

Period magazines have numerous articles on selecting flattering colors for women of all ages.  Lighter colors are often recommended for younger women, but they are also suggested for mature women for certain occasions.  Again, it depends on the circumstance, the occasion for wearing, and the color in question.

<<And women of improper virture wore red.>>

Another myth with no historical basis. There are hundreds of primary source references (original garments, diaries, letters, journals, newspaper articles, etc.) that document perfectly respectable women wearing all shades of red.

I've tried not to make this reply not sound too strident (mean, nasty, bitchy, etc.), but I don't think I've succeeded. :-)  I've developed a very low tolerance for those folks who continue to perpetuate mis-statements, half-truths and absolute falsehoods to the detriment of those trying to learn more about costume of any period.  When anyone (including me) makes a similar pronouncement in the future, I sincerely encourage you to (politely) ask for their source and/or documentation.  And nothing beats doing your own research.  :-)

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 3-6, 2005
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Subject: Re: [h-cost] CW  middleclass
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What is the difference between stays and a corset?

Susan
------------------------------------------------------------
> <<If you were in a camp dress, you probably didn't use hoops. Most likely
a couple petticoats. Probably not a corset, but a stay.>>
>
> The term "camp dress" did not exist in the mid-19th century.  It is an
advertising term used by modern vendors to sell what is more properly called
a "wash dress".  Wash dresses may have been worn over petticoats when doing
physical labor, but on most other occasions they were worn over a
(properly-sized) crinoline.  While stays may have been worn by some women
(more likely older women who were used to and comfortable with their fit),
corsets were the most common form of supportive undergarment.  The number of
women who had legitimate reasons for being in a military camp were
infintesimal when compared to the overall female population.  Of those that
did have reason for being there, the vast majority of them dressed no
differently from any other woman of the period.
>


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Subject: RE: [h-cost] CW  middleclass
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Carolann wrote:

<<If you were from the South, you had feathers on your hats, and
fancier trim on your dresses. ( so I've heard)  northern gals didn't
have feathers if you were proper.>>

>This is so patently false it is outrageous. I suspect the underlying
source >for this statement has more to do with Hollywood than it does
with an >history. 

Sounds like the British cliche that you could instantly tell what side
a person was on in our civil war by looking at their clothes.


<<If you were in a camp dress, you probably didn't use hoops. Most
likely a couple petticoats. Probably not a corset, but a stay.>>

>  While stays may have been worn by some women (more likely older
>women who were used to and comfortable with their fit), corsets were
the >most common form of supportive undergarment.  

Is there a technical difference? I thought a corset was the 19th
century term for what in the 18th century would have been called a pair
of stays. Were they two distinctive garments?



Kate Bunting
Library, University of Derby
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Subject: [h-cost] Re: hose fit
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Bjorn:

My husband wears hose, not me, but I think I can answer some questions. He
did not make his good hose, he bought them from Historic Enterprises
(www.historicenterprises.com). They are "open" hose -- with two separate
legs, not closed like tights. And they are made of wool, not cotton or
linen. Wool gives them a much tighter fit.

As for how they fit - they are quite tight. There's a bit of bagginess
around the knee, but the look is much closer to tights than you might think.
Check the website above to see. He wears them with garters that buckle under
the knee, and that helps keep them from "poofing."

He ties them with points to his braes -- which he did make himself. He ties
them only at the front top, where they come to a sort of a point, if that
makes sense. With short cotes you do see the white braes, which looks quite
"right" and (as long as your fabric is thick enough) isn't indecent.

He has had these particular hose for at least five years, and wears them a
lot. They have holes in the toes, but otherwise have not worn much and
certainly have kept their shape. We just washed them last week for the first
time!!! In between wearings we air them out for a day or two, and they don't
have any odor at all. BTW, he finds them very comfortable.

He does have some linen hose, and they are baggier. Still, they are not
loose by any means. In my opinion, they don't look quite right -- but they
do look more correct than dance tights or trousers! Linen is looser than
cotton, which doesn't have the right stretch at all. Whatever fabric you
use, you must cut them on the bias. This is essential to the fit.

Gail Finke

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Susan,

In earlier centuries, a tightly-fitted supportive undergarment was referred to as "stays" or "a pair of stays".  By the mid-19th century this term had faded from common use and was replaced by the term "corset", although there were some women who still referred to the garment as "stays".

In this context, and if I understood Therese correctly, most Civil War reenactors use the term "stays" to refer to a garment made from sturdy (usually cotton) fabric, constructed with shoulder straps, a center back opening, and stiffened with multiple rows of cord.  They use the word "corset" to refer to a garment usually constructed without straps, a center front opening that closes with a busk, back lacing, and stiffened with steel or baleen. 

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 3-6, 2005


------------------------------------------------
> 
> What is the difference between stays and a corset?
> 
> Susan
>> 
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Kim wrote:
<snip>

The best way to have these made to fit would be to have someone fit them
directly to you. 

<snip>
 
Also, if you are using a woven fabric (and if you are, terrific!), they are cut on the bias. That way, you get stretch without it binding.
 
If you want to take a slightly easier path than bias-cut woven hose, 100% wool jersey works up into very nice hose, and can be dyed to any color desired. It still should be fitted to the person wearing the hose, but does not have to be cut on the bias.
 
Dawn


Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: Re: [h-cost] Puff & Slash handout
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Saragrace, I've been trying since this morning to access your handout but am
still unable to get the page to open. I keep getting the "can not open after
one minutes" error.

LynnD

On 5/4/04 7:45 AM, "Dawn" <dawn@reddawn.net> wrote:

> Saragrace T. Knauf wrote:
> 
>> 
>> For those who are unable to make it, the handout is available here:
>> http://www.grimmarmoury.com/docs/PS_2003_Entire_Doc.pdf
>> 
>> Graciously hosted by Jason of the Grimm Armoury.  WARNING, this is a BEAST
>> of a document and will take a long time to load and download.
>> 
> 
> I'm getting a 'grimmarmoury.com cannot be found' error when I try that
> address.
> 
> 
> 
> Dawn
> 
> 
> 
> 
> _______________________________________________
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Subject: RE: [h-cost] CW  middleclass
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In the lexicon of most American Civil War reenactors, the terms are usually used to refer to garments that are technically quite different in style and construction. (I mentioned some of the basic differences in a previous post).  In a general historic fashion context they are used much more interdhangeably.

Based on my research of American primary sources, the most common terminology used during the period seems to be "stays" or "a pair of stays" in the first decades of the century (approximately 1800-1840s); "stays" and "corset" used interchangeably in the next few decades (late 1840s - early 1870s); and "corset" for the remainder of the century (1870s-1900).  Of course, usage of a particular term can depend on several variables, including geographic region, local custom, and editorial preference. :-) 

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 3-6, 2005

 
> Is there a technical difference? I thought a corset was the 19th
> century term for what in the 18th century would have been called a pair
> of stays. Were they two distinctive garments?
> 
> 
> Kate Bunting
> Library, University of Derby
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Were you able to find all of the embroidery patterns? Or was that all of
them on the Folger site?

Droolworthy. wow.  =)

Thanks!

Arlys


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From: "Formo, Nathan" <formo@lynchburg.edu>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: Re: [h-cost] Hose VS Tights
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> Joined hose (ie "tights") seem to start showing up around 1500. 
> Before that they were two separate legs (and not connected.)

So hose for my doublet (with slopes and panes, probably post 1550 in style)
would definitely be joined.  I'm still wondering about the hose for my
houppelaunde (1400-1500 is as much as I've ever been able to narrow this
garment down).  The pictures I used to base it on were from this site
http://www.beato-de-liebana.com/de/fotos_sanitatis.html and also some
paintings by Jan van Eyck.  In both cases these are dress like garments,
often above the knee.  Would the hose with such a garmet really be unjoined?
(I have to admit that while I'm brave enough to wear a houppelaunde and hose
I'm not thrilled at the idea of the hose not being a solid joined pair.)
Of course along that line it shouldn't matter if I just go ahead and make
them a joined pair.  The only way someone could challenge how the hose are
designed is if I started to flash all of the garb-snarks.  That or the
errant gust of wind.... 


> As far as the fit, they are shown as being as form fitting as tights 
> except for the middle and lower classes. I don't know how much of 
> that is "artistic license" and how well they really did fit. But 
> then, they were working with textiles that behave differently than 
> our modern ones do. Their textiles do seem to have more "give" and 
> "elasticity" than we'd think they would when compared to modern 
> "equivalents." Because of that natural elasticity, they wouldn't bag 
> as much either. The artists do show some creases at the knee which 
> look very much like those that tights get when the knee is bent, 
> which makes me lean more toward good fit as opposed to "artistic 
> license."
 
mixing the two differnt replies here....

> The best way to have these made to fit would be to have 
> someone fit them
> directly to you. 

Actually I have an idea I'm going to try.  It probably won't work but if it
does then I should end up with a very nice fitting pair of hose.  I've seen
several mentions of the famous "duck tape doubles".  So why wouldn't that
work for hose?  I've got a couple bad pairs of tights.  I'm going to put one
on and then wrap with tape, constantly flexing and bending my leg in the
process.  (I've messed up making pants before because when I measured I
forgot that muscles tend to move.)

Theoretically this should give me a comfortable but close fitting outline.
When I cut the tape off then I can take it and use it as the pattern to cut
my material.  Add an inch or so for the seams and "opps I messed up" room
and I should have a perfect outline for hose, right?
(Or when this fails I'll have a very amusing story of what not to try.)



> The information above is what our 15th century living history 
> group uses
> for the men's hose. We are based in the DC area. 
> 
> Nathan, don't you play in the SCA with the Barony of Ponte Alto every
> now and then when you aren't at school??

I'm actually in the northern end of the Barony of Black Diamond.  (Lynchburg
VA)  I've been to one or two events like Holiday Faire and the Celtic
Festival in Alexandria a couple times but I don't think you would really
know me from any of those times.  Still I'm not that far away if there are
some good resources I should be trying to catch up with.

Bjorn Arnaldsson
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Thank your for letting me know.  Jason will work on that when he gets home
this evening.

> -----Original Message-----
> Behalf Of Lynn Downward
> Saragrace, I've been trying since this morning to access your handout but
am
> still unable to get the page to open. I keep getting the "can not open
after
> one minutes" error.
> 
> LynnD
> 

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19th-century fashion terminology, including that for garment types, 
fabrics, sewing techniques, etc., was by no means standardized.  I've 
seen the terms "stays," "corset," "pair of stays," and "pair of corsets" 
used interchangeably into the early 1880s at least.  It's the same with 
many other terms. Different terms are often used in different articles 
in the same publication, or even in the same paragraph describing the 
same garment; let alone in different publications.  People did not tend 
to worry about copyediting consistency then the way they do now. 

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

>
>Is there a technical difference? I thought a corset was the 19th
>century term for what in the 18th century would have been called a pair
>of stays. Were they two distinctive garments?
>
>
>
>Kate Bunting
>
>  
>

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Subject: Re: [h-cost] CW  middleclass
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Status: RO

I've also seen the term "bodies" isn't that one also correct?



----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 04, 2004 6:03 PM
Subject: Re: [h-cost] CW middleclass


> 19th-century fashion terminology, including that for garment types, 
> fabrics, sewing techniques, etc., was by no means standardized.  I've 
> seen the terms "stays," "corset," "pair of stays," and "pair of corsets" 
> used interchangeably into the early 1880s at least.  It's the same with 
> many other terms. Different terms are often used in different articles 
> in the same publication, or even in the same paragraph describing the 
> same garment; let alone in different publications.  People did not tend 
> to worry about copyediting consistency then the way they do now. 
> 
> Fran
> Lavolta Press Books on Historic Costuming
> http://www.lavoltapress.com
> 
> >
> >Is there a technical difference? I thought a corset was the 19th
> >century term for what in the 18th century would have been called a pair
> >of stays. Were they two distinctive garments?
> >
> >
> >
> >Kate Bunting
> >
> >  
> >
> 
> _______________________________________________
> 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: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] sepia photo
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>Looking at the photo very carefully, I think that the hip "bulge", which
>is clearly circumferential, could be from the bottom edge of the corset,
>as it "drapes down" just below, where the rigid structural effect would
>stop.

It might just be a tuck in the fabric all the way around.  In the later
1880s this happened enough times to be noteworthy, tho not every dress had it.

  Question--whta sort of corset?  i.e. what years, style?  

Since I'm guessing c1890, I'd say a hip-length corset.

>9-gore skirt than a 4- or 5-gore skirt, and may well have extra fullness
>(or even a bustle, although that actually begins to seems less likely) in
>the back.  It does not seem to have any sort of train.

That, and the shape of the 'jacket' would be consistent with c1890.  That
and the sleeve caps.

>What sort of petticoat would you expect under it? 

Fitted at the hips and flaring out somewhat below that.

>I looked at the bodice/jacket pattern TV460 (page 52 of the catalog). 
>Then I stared at the photo--I don't see any obvious front closures or
>buttons.  Would the front have a somewhat offset (to the side) opening,
>or would the buttons just have been "under" the outside of the jacket and
>unseen, leaving that small narrow center area fairly smooth?  She was not
>a woman with any maids, I assure you, she would have had to dress herself
>without assistance.  Actually, pattern TV420 looks closer to the photo.

I'd say the top is a 'jacket' with a front panel.  The closures would be in
front and just under one of the 'jacket' fronts.

>What sort of hat might she have worn?  I know there isn't one in the
>photo, but I would like to make an appropriate one for the
>presentation--for her to take off as she enters the photographer's studio
>and primps a bit.

Right at 1890 there was a popular flat hat with the back of the brim
narrower than the front and rippled with extra fullness.  The decoration
goes around the crown and sometimes under the rippled part of the brim.

>What might the braided decoration have been made of--a sort of knit black
>silk tube?  What would be a resource for finding the braid, and either
>buying it, or making it? 

I'd think the braid was cord, sewn up into an applique and tacked on
separately.  Mail order catalogs from the late 1880s show various trim bits
made like that, which you could purchase and apply to whatever garment you
had or made.  Some of these appliques are sleeveless-vest-shaped like the
one apparently in this photo.  The kind of trimming around the bottom of
the 'jacket' is the kind that could be bought by the yard from the same
catalogs. 

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

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> > Joined hose (ie "tights") seem to start showing up around 1500.
> > Before that they were two separate legs (and not connected.)
> 
> So hose for my doublet (with slopes and panes, probably post 1550 in
> style) would definitely be joined.  I'm still wondering about the hose
> for my houppelaunde (1400-1500 is as much as I've ever been able to
> narrow this garment down). 

It really depends on when you are speaking of in the 15th C. There is 
a painting from 1493 which shows joined hose (Carpaccio's Martyrdom 
of the Pilgrims and Funeral of St. Ursula) but the further back 
before that you go, the more rare it is to see a back view where it 
is joined. And unless you have a back view, they look like they are 
joined even when they are separate legs.

It's like in the 1960s when we were wearing miniskirts before 
pantihose came along. People now think that we couldn't have done it, 
but believe me, we had *very* short skirts and "divided hose" but 
didn't show our private areas (as long as we were careful how we 
walked, reached and sat.) And we didn't have the hose able to come 
all the way up to the waist like the divided hose the men in period 
wore. That would have made life a lot easier.

 The pictures I used to base it on were
> from this site http://www.beato-de-liebana.com/de/fotos_sanitatis.html
> and also some paintings by Jan van Eyck. 

>From both of those they would definitely be divided hose. They don't 
have all of the ones from "sanitatis" which show the hose which has 
one side still up and the other rolled down around the calf, or both 
rolled to the calf. And van Eyck's time period they definitely had 
divided hose. There are several paintings and other forms of art 
which show what the gentlemen look like when they don't have their 
upper legs as fully covered (because they have stripped to just their 
doublet and hose.) If you have access to a book by Jacqueline Herald 
called _Renaissance Dress in Italy 1400-1500_ it can be seen very 
clearly on pages 62, 211 and 216. From the side or in an oblique 
view, these fellows would look like they were wearing regular tights, 
but when you see them from the back you can tell that they are 
divided. Or go to 
http://www.artchive.com/artchive/ftptoc/piero_ext.html and click on 
"Battle between Heraclius and Chosroes" which has the fellow from the 
Herald book in color in the center of the painting.

 In both cases these are
> dress like garments, often above the knee.  Would the hose with such a
> garmet really be unjoined? (I have to admit that while I'm brave
> enough to wear a houppelaunde and hose I'm not thrilled at the idea of
> the hose not being a solid joined pair.) Of course along that line it
> shouldn't matter if I just go ahead and make them a joined pair.  The
> only way someone could challenge how the hose are designed is if I
> started to flash all of the garb-snarks.  That or the errant gust of
> wind.... 

Unless you are in a situation (like some contests) where it matters, 
it would probably be just fine to wear the regular tights. However, 
many of the guys I know who do 14th and 15th C wear unjoined hose. 
(And sometimes take off their overgarments so that it's quite obvious 
they aren't joined. But with the appropriate underwear, nothing shows 
except the bottom of the tucked in shirt anyway.)

And with 16th C stuff, go ahead and wear the tights. Most guys do 
(although they may have been wearing hose which only came up to the 
bottom of their "trunkhose" which took the place of the top part of 
the hose as that part "evolved.")

> Actually I have an idea I'm going to try.  It probably won't work but
> if it does then I should end up with a very nice fitting pair of hose.
>  I've seen several mentions of the famous "duck tape doubles".  So why
> wouldn't that work for hose?  I've got a couple bad pairs of tights. 
> I'm going to put one on and then wrap with tape, constantly flexing
> and bending my leg in the process.  (I've messed up making pants
> before because when I measured I forgot that muscles tend to move.)

It's difficult to fit hose because bodies give more than a "dummy" 
does. Dummies are great for structured garments, but not as good for 
legs and the like. It really is best to do them on the leg itself.

> Theoretically this should give me a comfortable but close fitting
> outline. When I cut the tape off then I can take it and use it as the
> pattern to cut my material.  Add an inch or so for the seams and "opps
> I messed up" room and I should have a perfect outline for hose, right?
> (Or when this fails I'll have a very amusing story of what not to
> try.)

Well, you could try it. But the ones I've seen done that way don't 
seem to accommodate the moving leg very well. They seem to end up 
with too much fabric where it's ok to have less and too little where 
you need it most.

Kat
<kat@redtrollforge.com>


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Thank you.  I've been interested in this book ever since I first heard
of it on the treadleon List, and I never expected to hear of it being
reprinted.   Thanks very much,  Kitty

Kimiko Small wrote:
> 
> At 11:55 PM 4/27/2004 -0400, you wrote:
> >I'd be interested in finding out where to find this book,
> >  thanks, Kitty
> 
> Hi Kitty,
> 
> Singer Instructions of Art Embroidery and Lace Work
> I found my copy on eBay, one of the originals. Singer reprinted the book,
> and I have found a listing for them on Amazon. com as used copies,
> apparently it is out of print again.
> http://www.amazon.com/exec/obidos/tg/detail/-/0932086195/qid=1083148935/sr=1-2/ref=sr_1_2/104-5062285-9948754?v=glance&s=books
> 
> Oh, refining my search, I have found the newest edition on Amazon.
> http://www.amazon.com/exec/obidos/tg/detail/-/0916896242/qid=1083149080/sr=1-2/ref=sr_1_2/104-5062285-9948754?v=glance&s=books
> 
> Good luck and enjoy the book, it has been wonderful to look over. I hope to
> find time to learn how to do myself.
> 
> Kimiko
> 
> Kimiko Small
> Owner & Creator of DreamTime Studios; Website TBA.
> 
> "When there is fear, there is no creativity" ~ C. Lowell
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From h-costume-bounces@indra.com  Tue May  4 21:35:54 2004
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Subject: [h-cost] Re: hose
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Bjorn:

If the houppelande is long enough, the hose could either be joined or
separate. Separate hose are MUCH easier to make and fit, and as I said, are
not uncomfortable or indecent. If you want to make joined hose, it's a whole
different kettle of fish. That's a seriously fitted garment. While your duct
tape idea sounds possible, I don't know how well it would work because
(unlike, say, a corset) you'll need these things to fit when you move, not
just when you stand in place.

And my husband says that they probably need to be tied to a pourpoint
(tight-fitting vest or jacket) to fit right, and that they have to be tied
in the back as well as in the front. He says this makes them hard to sit in
comfortably.

Check this web page for a look at the various hosen sold by Historic
Enterprises (no connection -- satisfied customer -- etc. etc.) What you are
talking about are the 15th century hose they sell for $120. That price
reflects the difficulty. They also sell a "cheater" pair made of t-shirt
material for only $30. And they sell the separate hose, which they show worn
with braes. All of these should be on this page, if I did it correctly:

http://www.historicenterprises.com/cart.php?m=product_list&c=6

That will give you a good idea of what these garments should look and fit
like. Good luck with whatever you do!

Gail Finke

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 1700's dress ?
Date: Tue, 4 May 2004 20:09:27 -0700
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I don't think anyone responded to this, so I will.

Yes, it's definitely a LOOSE interpretation of a 1700's gown.  I won't list
the things that are wrong with it (historically), only to say check out some
books and websites with period
paintings(http://www.marquise.de/en/1700/index.shtml) and original garments
(http://demode.tweedlebop.com/realvict.html) for comparison.  It's trying to
be a robe a la polonaise, which usually looks more like this:
http://www.metmuseum.org/toah/hd/eudr/hob_1970.87a,b.htm

The ruffle at the hem is common with this style, but it is usually wider
(from top to bottom) and the underskirt is usually less full at the hem,
giving less of a bunchy look at the hem.

- Kendra

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>


> I have this Butterick pattern 3640. Is this a loose rendition of mid to
late
> 1700s French? And is the ruffle at the hem common with this style.
> This is not my area of interest so I am asking.
>
>
http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.page.4&TI=10013&M=
> &pageSize=9&UK=31998842

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Date: Tue, 04 May 2004 19:33:17 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Singer book of sewing machine embroidery
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Aparently this goes in and out of print.  I forget if I got my copy new or
used.  It is truly amazing what they could get a machine, that only sews
straight ahead, to do.

>Thank you.  I've been interested in this book ever since I first heard
>of it on the treadleon List, and I never expected to hear of it being
>reprinted.   Thanks very much,  Kitty
 
>> Singer Instructions of Art Embroidery and Lace Work
>> I found my copy on eBay, one of the originals. Singer reprinted the book,
>> and I have found a listing for them on Amazon. com as used copies,
>> apparently it is out of print again.
>> 
>http://www.amazon.com/exec/obidos/tg/detail/-/0932086195/qid=1083148935/sr=1
>-2/ref=sr_1_2/104-5062285-9948754?v=glance&s=books
>> 
>> Oh, refining my search, I have found the newest edition on Amazon.
>> 
>http://www.amazon.com/exec/obidos/tg/detail/-/0916896242/qid=1083149080/sr=1
>-2/ref=sr_1_2/104-5062285-9948754?v=glance&s=books
>> 
>> Good luck and enjoy the book, it has been wonderful to look over. I hope to
>> find time to learn how to do myself.

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

             //// \\\
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Date: Tue, 04 May 2004 21:14:23 -0600
From: Sylvia <sylvia@ntw.net>
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Subject: [h-cost] Victorian occupational costume books
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Anyone know of any good books on either English or American historical
occupational dress?

Sylrog

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Subject: [h-cost] Re: 1600 Purses.
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I have a pattern that has dozens of black and white drawings of purses 
from the Renaissance era. Unfortunately, I don't know where it is right 
now. But they are out there! If you have access to an Alter Years 
catalogue, check in it. The pattern I have is from that book!

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Subject: Re: [h-cost] Re: hose
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Gail & Scott Finke wrote:

> And my husband says that they probably need to be tied to a pourpoint
> (tight-fitting vest or jacket) to fit right, and that they have to be tied
> in the back as well as in the front. He says this makes them hard to sit in
> comfortably.

In invented a sort of suspender-system out of cotton belting for my 
husband, because he didn't want to wear a pourpoint.  It reaches from 
the top of his thigh in front, up over the shoulders, and down the the 
waist in back.  It has a "belt" which passes through loops in the 
vertical bits, and two bars in front and back at chest level to stop it 
from sliding off his shoulders.

The hosen tie to the vertical bits in front, but not in back, because 
they're Historic Enterprises hose with only one tie place each.

-- 
Cynthia Virtue and/or
Cynthia du PrÃ© Argent
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Subject: Re: [h-cost] CW  middleclass
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In a message dated 5/4/2004 2:59:16 PM Eastern Standard Time, 
cschmitt@genteelarts.com writes:
If you were married you wore more somber colors. Dark blue, dark green, grey, 
black. 
My dissertation research was on the transition from natural to synthetic dyes 
in the mid 19th century.  The first synthetic dyes were developed in the late 
1850s and they were very popular.  They could be brilliant, even, we might 
consider, garish. The first ones were mauve and magenta, and then a variety of 
purples and blues.  I not only looked at dye technology and use, but also the 
colors that were described in Godey's Lady's Book.  It may be hard to tell from 
extant garments how very bright they once were, as these early dyes were, 
notoriously, not fast to light and thus may have faded.  But you can see swatches 
in dye books, and I have seen a photo of a dress in a collection that still 
retains its brilliant purple color.

However black was always thought to be correct, and not just for mourning.  
For example, in 1857, black was "the standard," and in 1861 it was "the staple 
for street wear."  Various shades of drab (tans/browns) and dove (grays) were 
also mentioned in the fashion literature.

So somber shades would not be incorrect, but certainly weren't the only 
alternative.

One thing that fascinated me was that, from looking at Godey's, you wouldn't 
really know there was a war going on.  Contrast this to women's magazines from 
World War II, where every man pictured was in uniform and there were all 
kinds of articles about how one could support the effort on the home front. 

Ann Wass
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Subject: Re: [h-cost] photo
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HAving a rare day off yesterday (!) and having a bunch of errends to do,
I rambled on over to G Street Fabrics in Rockville (just to look, mind
you, usually too expensive) and was able to pick up some fabric swatches
to start thinking about fabrics for the sepia photo dress.  Two are wool
crepes--medium to heavy, and one is a gorgeous rust color, the other more
of a deep rose beige; the third fabric was from the "specials"table of
men's suitings--it was a nice mid-beige with a sort of random pattern of
pale black vertical short lines (there is probably a name for it, but it
wasn't on the label).  It had the right weight but the crepe drapes
better, of course.

And I found some black spiral tube trim that would look great, although I
foresee I"m going to need a hundred yards of it...   I'm going to try
fabric.com and some of the other online stores to get an idea if I can
lower the price a bit...

And I am think seriously about what sort of hat she would have.

My mom agreed to give me everything she has about her, but the woman (her
grandmother -whom she knows only as "Bubbe"--the Jewish word for grandma)
died when my mom was only three.

Yours in costuming, Lisa A.

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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] CW  middleclass
Date: Wed, 5 May 2004 08:24:44 -0400
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AnnBWass wrote:

"My dissertation research was on the transition from natural to synthetic
dyes in the mid 19th century. (snip) So somber shades would not be
incorrect, but certainly weren't the only alternative."

That was the point I was attempting to make but you said it much better than
I did. :-) (I shouldn't try to answer posts when I don't have sufficient
time to do it properly.)  

"But you can see swatches in dye books, and I have seen a photo of a dress
in a collection that still retains its brilliant purple color."

Over the years we've had several hundred different original dresses from the
mid-19th century on display at the conference.  The vivid colors and color
combinations in several of them is amazing, and quite surprising to many of
the participants who have not had the opportunity to view original garments
and/or have not researched the technology of dyes, dyeing, fabric printing,
etc.  This is an area I'm especially interested in; it is fascinating to
discover the diversity of patterns and colors they were capable of
producing.

"cschmitt@genteelarts.com writes: If you were married you wore more somber
colors. Dark blue, dark green, grey, black."

Knowing how some Internet posts can circulate in the Ethernet for eons and
come back to haunt you, I just wanted to clarify that this was NOT my
statement, but an excerpt from the original post. :-)

"One thing that fascinated me was that, from looking at Godey's, you
wouldn't really know there was a war going on.  Contrast this to women's
magazines from World War II, where every man pictured was in uniform and
there were all kinds of articles about how one could support the effort on
the home front."

Isn't that fascinating?  I have some sources at home that explain why Mrs.
Hale and the publisher chose to take that venue.  I won't attempt to quote
them from memory, but IIRC it was primarily a business decision.  I'll have
to look them up again.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 3-6, 2005



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You might try Kent State University, Kent, Ohio.  2nd largest public 
university in the state, monster library, pretty campus, amazing public 
transport system, good fashion history museum, not too far from the 
monster libraries & museums in Cleveland, lots of living history 
opportunities in the region, and a well-established S.C.A. group, 
Gwyntarian.  Also, more summer stock, little theatre & assorted pro drama 
groups in Northeast Ohio than you could shake a stick at.  Of course, 
you've gotta deal with the, umm... shall we say, variable, N.E. Ohio weather.

here's one of the urls:

http://www.fashionschool.kent.edu/majors.htm

Good luck to her!

Mary Piero Carey



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Subject: [h-cost] CW stays/corsets
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And whiile we're on the topic of stays and corsets...

The mid-19 century foundation undergarments that I have seen ( and I admit this sample is small) were constructed with a face fabric
and a lining fabric, making a "sandwich") this is the construction method used by Past Patterns.

The recent Simplicity CW patterns are constructed with a face fabric, boning in casings, no linings

My question to those who study the historically authentic vs. those who are oriented to the theatrical aspect.   Is there a
difference in usage in the 19th century?  Is one method MORE authentic?   If one type or the other found more frequently?  If you
were a 1850-60's woman would you have chosen on over the other?  Would you have looked at one type and thought " What is going on
here?"

Please excuse wrong terminology, teach me.  I learn so much from you all.

Mia in Charlotte, NC



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Laughing Moon's pattern also uses the same sandwich method. I'm unsure about
where my Simplicity corset pattern is at the moment (I'll dig it out later
today if I have to) but I was fairly sure it had three layers like most
other patterns. I do know Farthingales has an article on
http://www.farthingales.on.ca/simplicity_9769.php




----- Original Message ----- 
From: "Ellen Dappert" <Ellen.Dappert@ncmail.net>
To: <h-costume@indra.com>
Sent: Wednesday, May 05, 2004 9:28 AM
Subject: [h-cost] CW stays/corsets


> And whiile we're on the topic of stays and corsets...
>
> The mid-19 century foundation undergarments that I have seen ( and I admit
this sample is small) were constructed with a face fabric
> and a lining fabric, making a "sandwich") this is the construction method
used by Past Patterns.
>
> The recent Simplicity CW patterns are constructed with a face fabric,
boning in casings, no linings
>
> My question to those who study the historically authentic vs. those who
are oriented to the theatrical aspect.   Is there a
> difference in usage in the 19th century?  Is one method MORE authentic?
If one type or the other found more frequently?  If you
> were a 1850-60's woman would you have chosen on over the other?  Would you
have looked at one type and thought " What is going on
> here?"
>
> Please excuse wrong terminology, teach me.  I learn so much from you all.
>
> Mia in Charlotte, NC
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Subject: [h-cost] 1660's Gown Question
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Greetings all!

I was looking at these pictures again, and I'm wondering about the shoulders
of the bodices; they look so snug that you shouldn't be able to raise your
arms much past chest height. Would this be the case? These two pictures
would suggest so:

 http://www.marquise.de/en/1600/pics/1660_6.shtml

http://www.marquise.de/en/1600/pics/1660_7.shtml

In this picture though, it *almost* looks as if the shoulder/sleeve cap is
similar to those off the shoulder dresses in the late (19)80's early 90's,
the top of the sleeve is made to look like part of the bodice, and more or
less is 'hinged' to the top of a very shallow armscye. This would let you
raise your arms over your head to a much greater degree.

http://www.marquise.de/en/1600/pics/1660_2.shtml

Any thoughts, notions?

Sheridan


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From h-costume-bounces@indra.com  Wed May  5 11:25:44 2004
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Subject: [h-cost] Queen's Stitch
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I have a hankering to do the chatelaine pin cushion found in the back of "Fitting and Proper". I have a nice old brass cafe curtain ring with eye that I think will make a good collar. But I cannot seem to find directions for Queen's stitch needlepoint.  Any one have a citation or can describe how this stitch is done?
Kathleen
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] 1660's Gown Question
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Pity Nicole doesn't seem to be on the list any more. However, one of the
dancers our music group was playing for last weekend was wearing a dress
similar to the one Bjarne made for Nicole, and she could apparently move
her arms normally.



Kate Bunting
Library, University of Derby

>>> shaneandsheridan@sympatico.ca 05/05/2004 15:51:02 >>>
Greetings all!

I was looking at these pictures again, and I'm wondering about the
shoulders
of the bodices; they look so snug that you shouldn't be able to raise
your
arms much past chest height. Would this be the case? These two
pictures
would suggest so:

 http://www.marquise.de/en/1600/pics/1660_6.shtml 

http://www.marquise.de/en/1600/pics/1660_7.shtml 

In this picture though, it *almost* looks as if the shoulder/sleeve cap
is
similar to those off the shoulder dresses in the late (19)80's early
90's,
the top of the sleeve is made to look like part of the bodice, and more
or
less is 'hinged' to the top of a very shallow armscye. This would let
you
raise your arms over your head to a much greater degree.

http://www.marquise.de/en/1600/pics/1660_2.shtml 

Any thoughts, notions?

Sheridan


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Not one shred of evidence supports the notion that life is serious.


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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: RE: [h-cost] CW  middleclass
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I have never been interested in the Civil War Era because my impression of 
it is that the women in the photos were always stern-faced (because of 
having to hold a position for a long time while the photograph was being 
taken), the posing tended to be ram-rod straight, and the colors were so 
*drab*.  To me, this was not an era of happiness, but of stern, sober, 
drab, depressing garments. I know that people were happy then, as people 
are in any era, but the photos don't seem to reveal it.

I'm very pleased to see that bright colors *were* used. Hooray!

Katie

At 08:24 AM 5/5/2004 -0400, you wrote:
>AnnBWass wrote:
>
>"My dissertation research was on the transition from natural to synthetic
>dyes in the mid 19th century. (snip) So somber shades would not be
>incorrect, but certainly weren't the only alternative."
>
>That was the point I was attempting to make but you said it much better than
>I did. :-) (I shouldn't try to answer posts when I don't have sufficient
>time to do it properly.)
>
>"But you can see swatches in dye books, and I have seen a photo of a dress
>in a collection that still retains its brilliant purple color."
>
>Over the years we've had several hundred different original dresses from the
>mid-19th century on display at the conference.  The vivid colors and color
>combinations in several of them is amazing, and quite surprising to many of
>the participants who have not had the opportunity to view original garments
>and/or have not researched the technology of dyes, dyeing, fabric printing,
>etc.  This is an area I'm especially interested in; it is fascinating to
>discover the diversity of patterns and colors they were capable of
>producing.
>
>"cschmitt@genteelarts.com writes: If you were married you wore more somber
>colors. Dark blue, dark green, grey, black."
>
>Knowing how some Internet posts can circulate in the Ethernet for eons and
>come back to haunt you, I just wanted to clarify that this was NOT my
>statement, but an excerpt from the original post. :-)



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From h-costume-bounces@indra.com  Wed May  5 13:14:18 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] 1660's Gown Question
Date: Wed, 5 May 2004 17:19:11 +0200
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Hi Sheridan,
Yes this is the case, no scratching of your head in those cases. The arms
was forced down by the heavily boned bodice foundation under the bodice
silk.

Bjarne


----- Original Message ----- 
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 05, 2004 4:51 PM
Subject: [h-cost] 1660's Gown Question


> Greetings all!
>
> I was looking at these pictures again, and I'm wondering about the
shoulders
> of the bodices; they look so snug that you shouldn't be able to raise your
> arms much past chest height. Would this be the case? These two pictures
> would suggest so:
>
>  http://www.marquise.de/en/1600/pics/1660_6.shtml
>
> http://www.marquise.de/en/1600/pics/1660_7.shtml
>
> In this picture though, it *almost* looks as if the shoulder/sleeve cap is
> similar to those off the shoulder dresses in the late (19)80's early 90's,
> the top of the sleeve is made to look like part of the bodice, and more or
> less is 'hinged' to the top of a very shallow armscye. This would let you
> raise your arms over your head to a much greater degree.
>
> http://www.marquise.de/en/1600/pics/1660_2.shtml
>
> Any thoughts, notions?
>
> Sheridan
>
>
> =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
>
> Not one shred of evidence supports the notion that life is serious.
>
>
> _______________________________________________
> 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] CW  middleclass
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In a message dated 5/5/2004 12:28:34 PM Eastern Standard Time, 
Katie@katiesorchids.com writes:
the colors were so 
*drab*.  
One thing you should know about the early forms of photograph--including 
Daguerreotypes and similar forms, is that they did not "read" reds or yellows 
well, so these end up looking very dark or black on the image.  For example, a 
gray uniform with yellow stripes will look like it has black stripes.  A bright 
red dress may look black, too.  Have you noticed sometimes the odd looking 
blotches on a woman's cheeks?  She may have had very rosy cheeks that again 
photograph dark.

So don't think that, just because the dress looks dark in the photograph, it 
really was.

Ann Wass
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Subject: Re: [h-cost] CW  middleclass
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In a message dated 5/5/04 11:28:34 AM Central Daylight Time, 
Katie@katiesorchids.com writes:
To me, this was not an era of happiness, but of stern, sober, 
drab, depressing garments. I know that people were happy then, as people 
are in any era, but the photos don't seem to reveal it.

I'm very pleased to see that bright colors *were* used. Hooray!

Absolutely!  For the best idea of just *how* colorful clothing was, look at 
extant pieces in museums, books or on the internet.  Not only did they use 
bright colors extensively, they put combinations of them together that are 
startling to us today, but are absolutely gorgeous.

-Tiffany
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Subject: Re: [h-cost] Hairstyles through the ages?
Date: Wed, 5 May 2004 11:19:51 -0700
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Thanks Kathleen, you are a doll. I'm adding it to my search list.

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

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

----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 02, 2004 1:15 PM
Subject: Re: [h-cost] Hairstyles through the ages?


> >From my 'theatrical library', "Fashions in Hair", the first five thousand
> years; Peter Owen. London.  Published 1965, Peter Owen Limited
> C  Richard Corson, 1965
> Wonderful book!  Drawings are not great, but I love chasing down the
> original drawings and illustrations that have been redrawn for the book.
The
> Biblio includes Museums, books and periodicals for documentation. My
> complete copy is almost 700 pages.
> Kathleen
>
> ----- Original Message ----- 
> From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, May 02, 2004 2:40 PM
> Subject: Re: [h-cost] Hairstyles through the ages?
>
>
> > Can you provide the name of the book by Courson? Is it available or out
of
> > print?
> >
> > angela
> > +++++
> > Angela F. Lazear
> > Cabbage Rose Costumes
> > www.cabbagerosecostumes.com
> > Theatrical Costume Design
> >
> > "Love all, trust a few, do wrong to none:
> > be able for thine enemy rather in power than use,
> > and keep thy friend under thy own life's key:
> > be checked for silence, but never taxed for speech..."
> > W. Shakespeare
> >
> > ----- Original Message ----- 
> > From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
> >
> > > (At least this seems to be what my photos show.  Also, the Courson
book
> of
> > > hair styles through the ages shows this development, too.)
> >
> >
> > _______________________________________________
> > 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>
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References: <006b01c42fc5$31d37160$0201a8c0@kimathlon><200405020205.34249.cathy@thyrsus.com><000d01c4303d$81151f80$805183d1@rmitchellras><013b01c43075$07a75450$91e67643@lazear1><002101c43082$36683fe0$675183d1@rmitchellras>
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Subject: Re: [h-cost] Hairstyles through the ages?
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You are welcome!
kathleen
----- Original Message ----- 
From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 05, 2004 2:19 PM
Subject: Re: [h-cost] Hairstyles through the ages?


> Thanks Kathleen, you are a doll. I'm adding it to my search list.
>
> angela
> +++++
> Angela F. Lazear
> Cabbage Rose Costumes
> www.cabbagerosecostumes.com
> Theatrical Costume Design
>
> "Love all, trust a few, do wrong to none:
> be able for thine enemy rather in power than use,
> and keep thy friend under thy own life's key:
> be checked for silence, but never taxed for speech..."
> W. Shakespeare
>
> ----- Original Message ----- 
> From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, May 02, 2004 1:15 PM
> Subject: Re: [h-cost] Hairstyles through the ages?
>
>
> > >From my 'theatrical library', "Fashions in Hair", the first five
thousand
> > years; Peter Owen. London.  Published 1965, Peter Owen Limited
> > C  Richard Corson, 1965
> > Wonderful book!  Drawings are not great, but I love chasing down the
> > original drawings and illustrations that have been redrawn for the book.
> The
> > Biblio includes Museums, books and periodicals for documentation. My
> > complete copy is almost 700 pages.
> > Kathleen
> >
> > ----- Original Message ----- 
> > From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Sunday, May 02, 2004 2:40 PM
> > Subject: Re: [h-cost] Hairstyles through the ages?
> >
> >
> > > Can you provide the name of the book by Courson? Is it available or
out
> of
> > > print?
> > >
> > > angela
> > > +++++
> > > Angela F. Lazear
> > > Cabbage Rose Costumes
> > > www.cabbagerosecostumes.com
> > > Theatrical Costume Design
> > >
> > > "Love all, trust a few, do wrong to none:
> > > be able for thine enemy rather in power than use,
> > > and keep thy friend under thy own life's key:
> > > be checked for silence, but never taxed for speech..."
> > > W. Shakespeare
> > >
> > > ----- Original Message ----- 
> > > From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
> > >
> > > > (At least this seems to be what my photos show.  Also, the Courson
> book
> > of
> > > > hair styles through the ages shows this development, too.)
> > >
> > >
> > > _______________________________________________
> > > 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
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Subject: Re: [h-cost] CW photography and fabric colors
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AnnBWass wrote:
"One thing you should know about the early forms of photograph--including Daguerreotypes and similar forms, is that they did not "read" reds or yellows well, so these end up looking very dark or black on the image. (snip) So don't think that, just because the dress looks dark in the photograph, it really was."

Several years ago The Citizens' Companion published a wonderful article by Virginia Mescher on wet plate photography and how various colors photographed.  The article included images of plain and patterned fabrics in various shades.  Each fabric was photographed twice; once using both modern equipment and processing, the second time using period techniques.  The results were amazing. As you mentioned, bright yellow photographed darker than black, light blue was whiter than white.  There is a similar example using period and contemporary photographs of a color wheel on-line; but I don't have the link at this location.

Several years ago I was told by a very new and earnest participant that the only colors used in mid-19th century fabrics were "black, white and shades of gray".  When I asked for her source for that information, she indignantly told me to "just look at period photographs; those are the only colors you see".  She was absolutely dumbfounded when I gently pointed out that color photography had not yet been invented.  :-))  

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 3-6, 2005

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] CW stays/corsets
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Mia, 

Unfortunately, *documented* mid-19th century corsets are much harder to find than foundation garments from other decades, so my sampling is not very large either - about 10-12 garments.

Of those I've looked at, two were made from a single layer of fabric with separate casings for the stays.  The others were all constructed with a double layer of fabric.  I've found written documentation for both construction methods, and believe that either construction technique is appropriate. I would have to do a lot more study (more garments, manufacturing and sales figures, diaries, etc.) before I could make a determination whether one style was more common than the other.

Speaking from experience, I've found that reproduction corsets made from two layers of fabric are much sturdier and supportive than those made from single layers.  Reproduction corsets made with a single layer of fabric are lighter in weight, but I've found they don't wear as well and definitely are not designed for a generous figure. :-)

The one thing I have noticed in two-layer corsets is a different construction method than that found on most contemporary patterns.   Most of the patterns direct you to sew the pieces together making a complete outer layer and a complete inner layer, join the two layers together around the outside edges, then sew casings for the bones. This is ok if all of your sections are exactly the same size and all of your seams line up exactly.  But many seamstresses aren't that precise with their sewing, and the finished product has bumps and ripples where the layers are not aligned.  Those bumps and ripples can be really uncomfortable for some wearers.  

The period double-layer corsets I've seen to date use a different technique: the corset is constructed in sections from center front to center back and both layers are attached at each seam. As each section is attached, a casing(s) is stitched for the boning.  I use this technique in my corset classes, and it works very well.  No bumps, no ripples, very sturdy double stitched seams, quick and easy bone casings. Again, my sampling isn't large enough to state one construction method was more common than the other, but I much prefer the second method. 

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 3-6, 2005  


Mia wrote:
The mid-19 century foundation undergarments that I have seen (and I admit this sample is small) were constructed with a face fabric and a lining fabric, making a "sandwich") this is the construction method used by Past Patterns.

The recent Simplicity CW patterns are constructed with a face fabric, boning in casings, no linings

My question to those who study the historically authentic vs. those who are oriented to the theatrical aspect.   Is there a
difference in usage in the 19th century?  Is one method MORE authentic?   If one type or the other found more frequently?  If you were a 1850-60's woman would you have chosen on over the other?  Would you have looked at one type and thought "What is going on here?"
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Subject: RE: [h-cost] CW stays/corsets
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I'm not quite picturing how you construct your corsets.  Do you have a link
to someplace I can see how you do the seams to join together your sections?
-Megan

Carolann Schmitt wrote:
<snip>
The period double-layer corsets I've seen to date use a different technique:
the corset is constructed in sections from center front to center back and
both layers are attached at each seam. As each section is attached, a
casing(s) is stitched for the boning.  I use this technique in my corset
classes, and it works very well.  No bumps, no ripples, very sturdy double
stitched seams, quick and easy bone casings. Again, my sampling isn't large
enough to state one construction method was more common than the other, but
I much prefer the second method.

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Here are the ones I have on my shelf:
Working Class Costume 1818; Wm J. White; V&A, 1971
Police Uniform and Equipment; A.A.Clark;Shire Pub Ltd
The Victorian Domestic Servant; Trevor May; Shire Album, 1998
Working Dress,A History of Occupational Costume: Diana de Marly; B.T.
Batsford Ltd, London1986
Trades and Occupations, archive selected and arranged by Belanger Grafton;
Dover1990

Is there a particular costume you are looking for?  By the way, except for
the 'Dover", these were all gleaned from Books on Cloth as offered by Fred
Struthers
Kathleen
----- Original Message ----- 
From: "Sylvia" <sylvia@ntw.net>
To: "Historic Costume list" <h-costume@net.indra.com>
Sent: Tuesday, May 04, 2004 11:14 PM
Subject: [h-cost] Victorian occupational costume books


> Anyone know of any good books on either English or American historical
> occupational dress?
>
> Sylrog
>
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Date: Wed, 05 May 2004 14:27:55 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Queen's Stitch
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>I have a hankering to do the chatelaine pin cushion found in the back of 
>"Fitting and Proper". I have a nice old brass cafe curtain ring with eye 
>that I think will make a good collar. But I cannot seem to find directions 
>for Queen's stitch needlepoint.  Any one have a citation or can describe how 
>this stitch is done?

It's in the back of that little embroidery book of 18th and early 19th
century work from the Wintherthur collection.  I'm terrible at names, so I
don't know if that's the book you have or not.  This book has photos of
real stuff in the front, and several embroidery stitches in the back, and
(without being able to find my copy, because it's buried) I'm sure it's in
there.  Failing that, it's in a book called Pincushions (also buried).

Queen's stitch is done in a square.  First find the middle hole in the
square.  Half the stitches go thru the middle hole and fan out to one of
the holes on one side, and the other half of the stitches also go thru the
middle hole and fan out to one of the holes on the opposite side.  This
pulls a big hole in the middle, and that's the hole you see in the photos
of things using this stitch.

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

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Date: Wed, 5 May 2004 17:37:41 -0600 (MDT)
Subject: Re: [h-cost] Victorian occupational costume books
From: sylvia@ntw.net
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> Is there a particular costume you are looking for?

Yes!  I asked before but got no responses.  I'm looking for pics of
policemen uniforms, railroad signalmen and judges.  American, circa
1890-1900.

I did check Fred Struthers site, I thought, and came up with nothing.


Sylrog


By the way, except for
> the 'Dover", these were all gleaned from Books on Cloth as offered by Fred
> Struthers
> Kathleen
> ----- Original Message -----
> From: "Sylvia" <sylvia@ntw.net>
> To: "Historic Costume list" <h-costume@net.indra.com>
> Sent: Tuesday, May 04, 2004 11:14 PM
> Subject: [h-cost] Victorian occupational costume books
>
>
>> Anyone know of any good books on either English or American historical
>> occupational dress?
>>
>> Sylrog
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
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Subject: [h-cost] Scottish Victorian costume
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Now I'm researching Scottish Victorian costume too, also circa 1890-1900. 
Does anyone know how provalent the wearing of kilts would have been and
who would have worn them?  I've got both working class men (mill workers)
who I'm sure wouldnt be wearing kilts and some noblemen that I'm not sure
of.

Sylrog
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Subject: Re: [h-cost] Queen's Stitch
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I think that I can do this.  From the picture, I knew it means to do a
'daisy' but couldn't quite put it on a square, which is what my
understanding of needlepoint is all about.
Fitting and Proper is one of the Chester County, Pa. historical costume
volumes, (for the record). I am always looking for hand projects when we are
doing school tours for the Bradford House, 1782.
Kathleen
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 05, 2004 5:27 PM
Subject: Re: [h-cost] Queen's Stitch


> >I have a hankering to do the chatelaine pin cushion found in the back of
> >"Fitting and Proper". I have a nice old brass cafe curtain ring with eye
> >that I think will make a good collar. But I cannot seem to find
directions
> >for Queen's stitch needlepoint.  Any one have a citation or can describe
how
> >this stitch is done?
>
> It's in the back of that little embroidery book of 18th and early 19th
> century work from the Wintherthur collection.  I'm terrible at names, so I
> don't know if that's the book you have or not.  This book has photos of
> real stuff in the front, and several embroidery stitches in the back, and
> (without being able to find my copy, because it's buried) I'm sure it's in
> there.  Failing that, it's in a book called Pincushions (also buried).
>
> Queen's stitch is done in a square.  First find the middle hole in the
> square.  Half the stitches go thru the middle hole and fan out to one of
> the holes on one side, and the other half of the stitches also go thru the
> middle hole and fan out to one of the holes on the opposite side.  This
> pulls a big hole in the middle, and that's the hole you see in the photos
> of things using this stitch.
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
>           /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
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Well, in looking at the Clark book(let), it may have some of what you are
looking for. I also have on file a couple of pages of police taken from some
magazine like Woman's Home Journal at the turn of the century.
You might see if you could turn up some early 'films' from NY or
Hollywood...even the Keystone Cops costumes are close enough, as the movie
people were using real clothing and not costumes at that early time. The
frock coat, belted was pretty much in use until after the first world war
and the hat was domed like the British Bobby until rather late.
The Dover volume might have some views of signalmen. The jacket was hip
length; the style of cap was closer to the shape you might see on military
officers in WW1. The 'Tevia" Russian cap (or Stalin) shows up as early as
1885. As other early train uniforms, the color would most likely be black.
Buttons and other snazz would depend on the 'grade' of the
Judges were pretty much in black robes while on the bench by this time.  On
the street, probably in a three piece (4-5 button) suit with a black bowler
or top hat (city, or country). Or for what ever he thought would distinguish
him most...
Kathleen

----- Original Message ----- 
From: <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 05, 2004 7:37 PM
Subject: Re: [h-cost] Victorian occupational costume books


> > Is there a particular costume you are looking for?
>
> Yes!  I asked before but got no responses.  I'm looking for pics of
> policemen uniforms, railroad signalmen and judges.  American, circa
> 1890-1900.
>
> I did check Fred Struthers site, I thought, and came up with nothing.
>
>
> Sylrog
>
>
> By the way, except for
> > the 'Dover", these were all gleaned from Books on Cloth as offered by
Fred
> > Struthers
> > Kathleen
> > ----- Original Message -----
> > From: "Sylvia" <sylvia@ntw.net>
> > To: "Historic Costume list" <h-costume@net.indra.com>
> > Sent: Tuesday, May 04, 2004 11:14 PM
> > Subject: [h-cost] Victorian occupational costume books
> >
> >
> >> Anyone know of any good books on either English or American historical
> >> occupational dress?
> >>
> >> Sylrog
> >>
> >> _______________________________________________
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> >> h-costume@mail.indra.com
> >> http://mail.indra.com/mailman/listinfo/h-costume
> >>
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
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> >
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Subject: Re: [h-cost] Scottish Victorian costume
Date: Wed, 5 May 2004 20:34:52 -0400
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Working clothes were pretty much a standard, country of origin not
withstanding. Well worn trousers of jean or cord, work shirts of dirty white
or stripes or blue chambray. Probably a wool cap of some sort or a bowler if
they thought well of themselves.
I think that wearing a plaid was reserved for festive occasions and probably
only by the 'swells'.
Kathleen
----- Original Message ----- 
From: <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 05, 2004 7:40 PM
Subject: [h-cost] Scottish Victorian costume


> Now I'm researching Scottish Victorian costume too, also circa 1890-1900.
> Does anyone know how provalent the wearing of kilts would have been and
> who would have worn them?  I've got both working class men (mill workers)
> who I'm sure wouldnt be wearing kilts and some noblemen that I'm not sure
> of.
>
> Sylrog
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Subject: [h-cost] Re: Civil War era photos
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It's not only a Civil War era thing. Black and white film costumers had to
make interesting costume choices. Jezebel's famous red dress in "Jezebel"
was actually black -- red did not photograph dramatically enough. And I red
once that a black and white televised ballet used light blue costumes for
its sylphs, because they came across much whiter than white costumes.

Gail Finke

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Subject: [h-cost] kilts
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I have a Scottish bloodline (Kennedy).  At one of our family reunions we were told that even thought this line is from Scotland...they did not wear kilts.  So, not all Scotsmen wore the kilts, but I do not know who did or who didn`t.  I believe that they said that it depended on the area where they lived.

Linda
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Subject: Re: [h-cost] CW  middleclass
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timandterese wrote:
> 
> 
> 
> A question was posed about what a middle class woman would wear in the CW
> and near post CW era.  I am currently working on a dress from the 1850's .
> During the research I have done, and talking with re-enactors that are very
> involved with an organization from that time period.
> 
> 
> 
> If you were married you wore more somber colors. Dark blue, dark green,
> grey, black.  High neck, long sleeves, with under sleeves. You would
> probably be wearing some version of mourning colors as you most likely knew
> someone killed in the CW.
> 
> 
> 
> If you were in a camp dress, you probably didn't use hoops. Most likely a
> couple petticoats. Probably not a corset, but a stay.
> 
> Ditto on the stay if you were pregnant.  If you were dressed to go to town,
> or a social function, you did wear a corset.
> 
> 
> 
> Younger women that were not married wore much lighter colors. And women of
> improper virture wore red.
> 
> Hope this helps.
> 
> Terese in Michigan

Thanks Terese, 
it does help, in a way.  My favorite color is a dark browny red.   sort
of like brick.   I was planning to make a dress from a fabric I bought
in a color like that, with a small 1/8th inch bird track repeated every
inch or so.   Oh well, it isn't for reenactment, just personal enjoyment
so maybe I still will.   I plan to wear it to church maybe once a month
or so, and to our local lost arts festival, "Mountain Craft Days"   in
September.   

I've never tried the stays or corsets, sort of afraid of the expense and
definitely can't buy one off the shelf as it were, my shape is to odd. 
Maybe I'll try to make one after I get the dress done.   My friend who
grew up going on wagon trains in the seventies and eighties always wears
her costumes with modern foundations.   I surely am concerned with not
being too hot, since my weight causes me to feel the heat quite a bit. 
I liked what I read about stays, maybe I will try to duplcate them 
rather than corsets since, being heavy, I am concerned with corsets
going weird on me with the modern plastic stays in them.   I'm afraid my
body is liable to bend the plastic in the wrong direction or that I will
be too uncomfortable to sit through church with them. 
Oh well, no sense dumping all my mental flutter on you.   I'll cogitate
on it.  LOL  thanks,  Kitty

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In a message dated 5/5/2004 8:44:32 PM Eastern Standard Time, 
gailscott@eos.net writes:
light blue costumes for
its sylphs, because they came across much whiter than white costumes.
I thought they used light blue because white was TOO white, but anyway, same 
principle.

Ann Wass
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Date: Wed, 05 May 2004 21:53:28 -0400
From: Kitty Felton <basyefelton@floodcity.net>
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Subject: Re: [h-cost] Re: Conservative dress of the Victorian era.
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that's kinda what I thought.  what about hoops, would they have been
more for parties or very fashionable women?   or were there different
sizes, depending on how conservative or how fashionable you were?  I saw
a pattern in which the size ranged from 100 inches circumference to
maybe 150, I don't remember now,  depending on the size of the person.  
but I can't visualize how big they would be.   I'm trying to decide if I
could use a small hoop at church without embarrassing myself since I
understand they are cooler than petticoats but harder to handle.   

I don't know where to find the dover prints, but I will definitely look
for the book through interlibrary loan.   Thanks,  Kitty

Lloyd Mitchell wrote:
> 
> That was my first take, re conservative Christian. A two piece dress of
> jacket and skirt that is not ostentatious in either color or ornamentation.
> Fran Grimbals book of Reconstruction Era Patterns gives lots of
> possibilities. Pick your decade or portion thereof and see what you like. I
> have a lot of photos of this period and there are also some Dover reprints
> that give a good overview, having been taken from magazines of the period.
> Kathleen
> ----- Original Message -----
> From: "Kitty Felton" <basyefelton@floodcity.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, May 04, 2004 10:52 AM
> Subject: [h-cost] Re: Conservative dress of the Victorian era.
> 
> > Lloyd Mitchell wrote:
> > >
> > > Kitty, I am not sure what you might mean by a religious person'. A nun?,
> a
> > > woman with a vocation(catholic or Protestant), a conservative
> 'Christian',
> > > Quaker, and etc. Referring to the pic., since she is in a traditional
> pose
> > > with a man, I would suggest they were a 'couple'.
> > > Kathleen
> >
> >
> >
> > by a religious person, I meant a conservative christian.   this doesn't
> > necessarily mean she wouldn't have been a wife.  my question relates to
> > my search for what sort of garments I would wear if I were trying to
> > dress not in a very fashionable style but in a more conservative way.
> > while a dress like a wedding cake is pretty to look at, it just doesn't
> > seem like something I would enjoy wearing.   I would like to learn what
> > conservative person of the CW or post CW era would wear.  would she wear
> > hoops?  how large?   I imagine a washer woman would not, but what would
> > a middle class person wear?   I like the look of the skirts swept to the
> > back, but do not like the strange corsets of the turn of the century.
> > is there a middle ground?
> >
> > Kitty
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
> _______________________________________________
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Just some suggestions from the peanut gallery-----

>I've never tried the stays or corsets, sort of afraid of the expense and
definitely can't buy one off the shelf as it were, my shape is to odd. 
Maybe I'll try to make one after I get the dress done. <

If you are going to try stays or corsets at all, you need to make them
BEFORE you make your dress.   They change your shape and the dress will have
to change also.


 > My friend who
grew up going on wagon trains in the seventies and eighties always wears
her costumes with modern foundations. < 

Are you talking 1970's and 1980's ?   This would just mean that she was
doing trail rides that did not require that the participants were accurate.
I have personally ridden on trail rides in full corset and side saddle with
no problem.

> I surely am concerned with not being too hot, since my weight causes me to
feel the heat quite a bit. I liked what I read about stays, maybe I will try
to duplcate them rather than corsets since, being heavy, I am concerned with
corsets going weird on me with the modern plastic stays in them.   I'm
afraid my body is liable to bend the plastic in the wrong direction or that
I will be too uncomfortable to sit through church with them.< 

I make my corsets in linen or/and 100% cotton for the heat factor. If you
are worried about the plastic boning "going weird" on you then, contact
Greenberg & Hammer (out of New York) and order steel stays.  They are not
expensive.  I just did my niece's prom dress that had a steel boned bodice
and ordered the steel stays from them.  They were not only reasonable on
price but, fast on the shipping.

My two cents,
Diane


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Kendra,
Thank you. This is very helpful. I am looking at make this pattern for a
costume party. Since authenticity is not a major fact (an attempt) I figure
that I would make a little extra effort. As I said this isn't my era of
interested and my time is limited that I can put in this dress.
Thank you again.
De

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Hi Carolann, I
	 really appreciated the particular slant you placed on our
conversation, but please, don't be to hard on Terese.   for one thing,
she started off saying she was almost as new as me, and besides, we WERE
discussing a particular socio-economic class, as well as a particular
philosophical bent, namely a middle class Conservative christian woman
who while wanting to look nice, eschews anything flashy in favor of
"modesty".   in my understanding of Biblical modesty, this doesn't just
include keeping what should be covered covered, but also, not drawing
attention to the person through dress, hair, jewelry, voice or behavior.
In discussing a married woman vs a single woman we are limiting
ourselves to this person.

   MY question I guess, is what would have been considered unusual
enough to have been Immodest according to this definition and what would
have been modest.   
	I began planning a dress for church about a year ago, but looking at
all the patterns I was confused as to what I was going to do.  My friend
who got me interested in this was on the wagon trains so was used to
wearing a loose fitting dress more along the lines of a prairie dress.  
she also likes western styles similar to square dancing dress, but
long.   I do to for that matter.   however, when I began looking for a
pattern for my dress, the major pattern books, (simp, Butterick and
MCcalls) all seemed to be doing over the top titanic and Gone with the
Wind styles which don't fit my ideas at all, and the baggy prairie
styles which being big I don't really want either.   

SOOOO I am trying to find out what WOULD fit the look or persona I am
looking to create.  I am not actually going to do any reenacting or
anything, I'm not trying to do a character, just make something that is
suitable. something which is understated not flashy, well dressed but
not immodest, pretty but not frilly or overdone in anyway.   

	When I got to looking at that photo everyone was discussing last week,
(resource) I began questioning if this is a style I should be
considering to give me the look I want.   Which is how we got HERE,  LOL

in the context of time, I find I really like the smooth front and
bustled look (1889-90??) without the funny corsets of the actual 90s or
the big sleeves, but as someone on one of these lists pointed out, I
might not want an actual bustle since it could cause me to be unable to
actually SIT on a pew.   so I am also asking questions about what is
appropriate for this woman we are discussing with this look in mind.

would this woman have worn stays?  (I'm 50 this year) would she have
worn crinolines or hoops.  how do I decide how big to make the hoops,
what do I do about creating crinolines (tulle?) if this is the more
appropriate, and if hoops are more appropriate, how do I make them
modest (Scarlett's were NOT, in my estimation) and practical since
church pews are not very spacious.  any help you care to offer would be
greatly appreciated.  

  thanks again sharing your knowledge,   Kitty

Carolann wrote:
> 


 in hearing the documentation these folks used for some of their
statements. "Myths" and "reenactorisms" like these have been perpetuated
for decades without any solid research or documentation.
> 
> <<If you were married you wore more somber colors. Dark blue, dark green, grey, black.  High neck, long sleeves, with under sleeves.>>
> 
> There is no factual basis for this statement. There are literally hundreds of original garments documented to the age and marital status of the wearer that are made of brighter colors and patterns.  Whether a dress has a high or low neckline, short or long sleeves, etc. depends much more on the overall style of the garment, the occasion for which it is worn, and the socio-economic class of the wearer than it does on marital status.
> 
> <<You would probably be wearing some version of mourning colors as you most likely knew someone killed in the CW.>>
> 
> Not everyone wore mourning, and not everyone followed mourning dictates. Again, socio-economic status, customs, and personal preferences would determine if, where or when someone chose to don mourning dress.
> 
> <<If you were from the South, you had feathers on your hats, and fancier trim on your dresses. ( so I've heard)  northern gals didn't have feathers if you were proper.>>
> 
> This is so patently false it is outrageous. I suspect the underlying source for this statement has more to do with Hollywood than it does with an history.
> 
> <<If you were in a camp dress, you probably didn't use hoops. Most likely a couple petticoats. Probably not a corset, but a stay.>>
> 
> The term "camp dress" did not exist in the mid-19th century.  It is an advertising term used by modern vendors to sell what is more properly called a "wash dress".  Wash dresses may have been worn over petticoats when doing physical labor, but on most other occasions they were worn over a (properly-sized) crinoline.  While stays may have been worn by some women (more likely older women who were used to and comfortable with their fit), corsets were the most common form of supportive undergarment.  The number of women who had legitimate reasons for being in a military camp were infintesimal when compared to the overall female population.  Of those that did have reason for being there, the vast majority of them dressed no differently from any other woman of the period.
> 
> <<Ditto on the stay if you were pregnant.>>
> There is evidence of the use of gestational (maternity) stays,  primarily in the antebellum years, and they may have continued to be worn by some women.  However, gestational corsets were also available.  My research indicates corsets, including the gestational versions, were much more common than stays during this period.
> 
> <<If you were dressed to go to town, or a social function, you did wear a corset.>>
> 
> Research indicates that corsets were worn daily from morning to night for all occasions, not just for specific events. Going without one would be extremely uncomfortable and highly unusual.
> 
> <<Younger women that were not married wore much lighter colors.>>
> 
> Period magazines have numerous articles on selecting flattering colors for women of all ages.  Lighter colors are often recommended for younger women, but they are also suggested for mature women for certain occasions.  Again, it depends on the circumstance, the occasion for wearing, and the color in question.
> 
> <<And women of improper virture wore red.>>
> 
> Another myth with no historical basis. There are hundreds of primary source references (original garments, diaries, letters, journals, newspaper articles, etc.) that document perfectly respectable women wearing all shades of red.
> 
> I've tried not to make this reply not sound too strident (mean, nasty, bitchy, etc.), but I don't think I've succeeded. :-)  I've developed a very low tolerance for those folks who continue to perpetuate mis-statements, half-truths and absolute falsehoods to the detriment of those trying to learn more about costume of any period.  When anyone (including me) makes a similar pronouncement in the future, I sincerely encourage you to (politely) ask for their source and/or documentation.  And nothing beats doing your own research.  :-)
>

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Date: Wed, 05 May 2004 21:26:26 -0600
Subject: Re: [h-cost] CW  middleclass
From: Sylvia <sylvia@ntw.net>
To: Historical Costume <h-costume@indra.com>
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I would suggest not going with the 1860s and eliminate the full
skirt/crinoline look.  That look is not going to be very comfortable and you
will have trouble moving around, much less sitting in a church pew.  I would
go for either a small bustle look which can be created just by draping,
without the understructure, or the look from 1890 to 1900.  You dont have to
use the years when the leg-o-mutton sleeves were in style, if you dont want
that.  The early 1890s and the very late 1890s did not feature the huge
sleeves.

Sylrog

> From: Kitty Felton <basyefelton@floodcity.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Wed, 05 May 2004 23:32:08 -0400
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] CW  middleclass
> 
>
> 
> SOOOO I am trying to find out what WOULD fit the look or persona I am
> looking to create.  I am not actually going to do any reenacting or
> anything, I'm not trying to do a character, just make something that is
> suitable. something which is understated not flashy, well dressed but
> not immodest, pretty but not frilly or overdone in anyway.
> 
> When I got to looking at that photo everyone was discussing last week,
> (resource) I began questioning if this is a style I should be
> considering to give me the look I want.   Which is how we got HERE,  LOL
> 
> in the context of time, I find I really like the smooth front and
> bustled look (1889-90??) without the funny corsets of the actual 90s or
> the big sleeves, but as someone on one of these lists pointed out, I
> might not want an actual bustle since it could cause me to be unable to
> actually SIT on a pew.   so I am also asking questions about what is
> appropriate for this woman we are discussing with this look in mind.
> 
> would this woman have worn stays?  (I'm 50 this year) would she have
> worn crinolines or hoops.  how do I decide how big to make the hoops,
> what do I do about creating crinolines (tulle?) if this is the more
> appropriate, and if hoops are more appropriate, how do I make them
> modest (Scarlett's were NOT, in my estimation) and practical since
> church pews are not very spacious.  any help you care to offer would be
> greatly appreciated.
> 
> thanks again sharing your knowledge,   Kitty
> 
> Carolann wrote:
>> 
> 
> 
> in hearing the documentation these folks used for some of their
> statements. "Myths" and "reenactorisms" like these have been perpetuated
> for decades without any solid research or documentation.
>> 
>> <<If you were married you wore more somber colors. Dark blue, dark green,
>> grey, black.  High neck, long sleeves, with under sleeves.>>
>> 
>> There is no factual basis for this statement. There are literally hundreds of
>> original garments documented to the age and marital status of the wearer that
>> are made of brighter colors and patterns.  Whether a dress has a high or low
>> neckline, short or long sleeves, etc. depends much more on the overall style
>> of the garment, the occasion for which it is worn, and the socio-economic
>> class of the wearer than it does on marital status.
>> 
>> <<You would probably be wearing some version of mourning colors as you most
>> likely knew someone killed in the CW.>>
>> 
>> Not everyone wore mourning, and not everyone followed mourning dictates.
>> Again, socio-economic status, customs, and personal preferences would
>> determine if, where or when someone chose to don mourning dress.
>> 
>> <<If you were from the South, you had feathers on your hats, and fancier trim
>> on your dresses. ( so I've heard)  northern gals didn't have feathers if you
>> were proper.>>
>> 
>> This is so patently false it is outrageous. I suspect the underlying source
>> for this statement has more to do with Hollywood than it does with an
>> history.
>> 
>> <<If you were in a camp dress, you probably didn't use hoops. Most likely a
>> couple petticoats. Probably not a corset, but a stay.>>
>> 
>> The term "camp dress" did not exist in the mid-19th century.  It is an
>> advertising term used by modern vendors to sell what is more properly called
>> a "wash dress".  Wash dresses may have been worn over petticoats when doing
>> physical labor, but on most other occasions they were worn over a
>> (properly-sized) crinoline.  While stays may have been worn by some women
>> (more likely older women who were used to and comfortable with their fit),
>> corsets were the most common form of supportive undergarment.  The number of
>> women who had legitimate reasons for being in a military camp were
>> infintesimal when compared to the overall female population.  Of those that
>> did have reason for being there, the vast majority of them dressed no
>> differently from any other woman of the period.
>> 
>> <<Ditto on the stay if you were pregnant.>>
>> There is evidence of the use of gestational (maternity) stays,  primarily in
>> the antebellum years, and they may have continued to be worn by some women.
>> However, gestational corsets were also available.  My research indicates
>> corsets, including the gestational versions, were much more common than stays
>> during this period.
>> 
>> <<If you were dressed to go to town, or a social function, you did wear a
>> corset.>>
>> 
>> Research indicates that corsets were worn daily from morning to night for all
>> occasions, not just for specific events. Going without one would be extremely
>> uncomfortable and highly unusual.
>> 
>> <<Younger women that were not married wore much lighter colors.>>
>> 
>> Period magazines have numerous articles on selecting flattering colors for
>> women of all ages.  Lighter colors are often recommended for younger women,
>> but they are also suggested for mature women for certain occasions.  Again,
>> it depends on the circumstance, the occasion for wearing, and the color in
>> question.
>> 
>> <<And women of improper virture wore red.>>
>> 
>> Another myth with no historical basis. There are hundreds of primary source
>> references (original garments, diaries, letters, journals, newspaper
>> articles, etc.) that document perfectly respectable women wearing all shades
>> of red.
>> 
>> I've tried not to make this reply not sound too strident (mean, nasty,
>> bitchy, etc.), but I don't think I've succeeded. :-)  I've developed a very
>> low tolerance for those folks who continue to perpetuate mis-statements,
>> half-truths and absolute falsehoods to the detriment of those trying to learn
>> more about costume of any period.  When anyone (including me) makes a similar
>> pronouncement in the future, I sincerely encourage you to (politely) ask for
>> their source and/or documentation.  And nothing beats doing your own
>> research.  :-)
>> 
> 
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All I found was one page for a cap. Is there more?

De

-----Original Message-----
Wow.  I googled the Folger and there is really quite a
bit on line, including embroidery patterns.  Probably
best to print out, as I suspect they will change the
link when their exhibit changes.

http://www.folger.edu/public/exhibit/current.asp

Kay


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Subject: Re: [h-cost] CW  middleclass
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In a message dated 5/5/04 10:34:14 PM Central Daylight Time, 
basyefelton@floodcity.net writes:
Hi Carolann, I
    really appreciated the particular slant you placed on our
conversation, but please, don't be to hard on Terese.   for one thing,
she started off saying she was almost as new as me, and besides, we WERE
discussing a particular socio-economic class, as well as a particular
philosophical bent, namely a middle class Conservative christian woman
who while wanting to look nice, eschews anything flashy in favor of
"modesty". 

First I just wanted to say that I thought Carolann's post did an excellent 
job of covering exactly this question.  Much of the information in Terese's post 
about what qualified as 19th century "flashy" was simply inaccurate, and I 
think Carolann did a great job of clearing that up.  I don't think it was meant 
to be at all hard on Terese, but with all due respect, if you don't actually 
*know* what constitutes period accuracy - or if most of what you do know has 
come from movies or TV - it's probably best to let others answer a question like 
that, rather than put forth information that may lead people in the wrong 
direction.

A conservative Christian woman from Boston, dressing nicely and modestly, 
could very easily have worn a deep red gown with feathers on her hat.  I think 
what Carolann was trying to do was keep you from feeling like you're limited to 
gray silk from your nose to your toes, if you want an accurate presentation.

I have to admit to a certain level of annoyance with many of the inaccurate 
ideas that have been put forth by Hollywood and then perpetuated throughout the 
reenacting communities as well; such as the idea of only *scarlet* women 
wearing red, etc.  But it's not annoyance directed personally at Terese or any one 
person, it's just general frustration at a tidal wave that is difficult to 
turn back.

Moving on:

"when I began looking for a pattern for my dress, the major pattern books, 
(simp, Butterick and MCcalls) all seemed to be doing over the top titanic and 
Gone with the Wind styles which don't fit my ideas at all, and the baggy prairie 
styles which being big I don't really want either."

Your instincts are already serving you extremely well.  There are very few 
commercial type patterns from those companies, that are worth the paper they're 
printed on from an historical-accuracy standpoint.  Try these sites and see if 
you can find something more in line with what you were picturing:

http://www.lafnmoon.com/
http://www.pastpatterns.com/
http://www.alteryears.com/
http://www.patternsoftime.com

"I find I really like the smooth front and bustled look (1889-90??)" 

There were actually two different bustle eras, named (imaginatively enough) 
the First Bustle Period (ca 1870-1875) and the Second Bustle Period (ca 
1883-1891).  Each had its own distinct characteristics, and you might find that one 
or the other suits the look that you are wanting better.  Here's a great site 
with information on both: 

http://www.fashion-era.com/bustles.htm

"would this woman have worn stays? "

Almost definitely, stays or a corset.  But, there were tons of variants on 
designs at the time, so you can play around and figure out what works best and 
is most comfortable for you.  It may take you a couple of shots at it before 
you discover this; it did me.

"would she have worn crinolines or hoops.  how do I decide how big to make 
the hoops,
what do I do about creating crinolines (tulle?)"

If you're going for a bustle-era fashion, then you don't need to worry about 
crinoline or hoops.  Crinolines started to go out by the end of the 1860's as 
the silhouette of women's clothing completely changed.  You will need a 
bustle/skirt supporter of some sort (which can range anywhere from a pillow that you 
tie onto your waist that sits on your rear end, to a full 3/4 steel birdcage 
attached to your nether regions) and then petticoats with that, but the 
petticoats don't have to be voluminous or wide.  

If you decide to go with a bustle era fashion, definitely go through that 
fashion-era website thoroughly.  It has tons of great information.

Hope this helps some!

-Tiffany
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Queen's Stitch
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Status: RO

Huh!
The variety I know is kind of diamond shaped, done as a series of long 
stitches going from a point of origin on top, to a final point on the 
bottom.  They're spread apart in the center of the diamond by a little 
series of back stitches (done one at a time, once for each long pass). 
Finicky and a pain in the behind to do, but nice textural effects when 
done in a clump....
I've seen it in a number of (modern) "embroidery encyclopedias."  Dunno 
about online sources (maybe googling would get you one of the sites that 
hosts examples of different stitches)
--she, who learned how to do this when making "strawberries" for a 17th 
c. band sampler.....

Carolyn Kayta Barrows wrote:

>>I have a hankering to do the chatelaine pin cushion found in the back of 
>>"Fitting and Proper". I have a nice old brass cafe curtain ring with eye 
>>that I think will make a good collar. But I cannot seem to find directions 
>>for Queen's stitch needlepoint.  Any one have a citation or can describe how 
>>this stitch is done?
> 
> 
> It's in the back of that little embroidery book of 18th and early 19th
> century work from the Wintherthur collection.  I'm terrible at names, so I
> don't know if that's the book you have or not.  This book has photos of
> real stuff in the front, and several embroidery stitches in the back, and
> (without being able to find my copy, because it's buried) I'm sure it's in
> there.  Failing that, it's in a book called Pincushions (also buried).
> 
> Queen's stitch is done in a square.  First find the middle hole in the
> square.  Half the stitches go thru the middle hole and fan out to one of
> the holes on one side, and the other half of the stitches also go thru the
> middle hole and fan out to one of the holes on the opposite side.  This
> pulls a big hole in the middle, and that's the hole you see in the photos
> of things using this stitch.


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From h-costume-bounces@indra.com  Thu May  6 00:41:42 2004
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Hose VS Tights
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Hi, All. I would like to take scholarly exception to the conjecture that 
joined hose were not in use prior to about 1493. I would like to refer 
to the paintings that give me this information. The earliest that I can 
recollect is the illo from the Hours of Catherine of Cleves from about 
1430-1440, specifically  the "preparation for the Crucifixion" which 
shows the workman in full though not very fitted hose. These hose are 
tied to the doublet with  one set of points at the back, not two as it 
would be if they were two pieces. Another, by Geertgen Tot Sint Jans, 
the "Burning of the Bones of St. John" which is dated by art historians 
to have been painted earlier than 1484, contains illos of 3 pair of 
joined hose. From Italy, the illo of The miracles of St. Vincent" by 
Ercole de Roberti  shows two joined pair of hose. This painting is dated 
from the 1460s. Moving to Flanders, an illo from Christine de Pisan's 
book Epitre d'Othea, painted by Jean Mielot in 1461 shows joined hose in 
a number of illos. The Book of Hours of Etienne Chevalier by Jean 
Fouquet from the 1460s shows two carpenters wearing joined hose. The 
Chronicles of Hainault  (illos by the studio of Guillaume Vrelant) dated 
to about 1447-1450 show joined hose (two men in the right side) in an 
illo of a Cardinal preaching in a courtyard. From Germany, Hans 
Talhoffer's "Book of Fencing" dated 1467 shows joined hose on all of the 
combatants, and the Codex Wallerstein of about the same date, shows the 
same. An interesting note, the Talhoffer book shows judicial duels, and 
in a few, there is a women wearing hose, but with no codpiece or visible 
join to the hose. The illos abovementioned come from Early Dutch 
Painting by Chatelet, Renaissance Dress in Italy 1400-1500 by Herald, 
The Book of Costume by Davenport and the facsimiles of Talhoffer and the 
Codex Wallerstein. I can cite pages and illo numbers if necessary. Mike T.


>  
>


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From h-costume-bounces@indra.com  Thu May  6 01:10:26 2004
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Queen's Stitch
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Well now I'm going to have to find my two books that have Queen's stitch in
them.  You may be right and I may have gone temporarily senile.  Kathleen,
I'll get back to you if I mis-remembered.

>Huh!
>The variety I know is kind of diamond shaped, done as a series of long 
>stitches going from a point of origin on top, to a final point on the 
>bottom.  They're spread apart in the center of the diamond by a little 
>series of back stitches (done one at a time, once for each long pass). 
>Finicky and a pain in the behind to do, but nice textural effects when 
>done in a clump....
>I've seen it in a number of (modern) "embroidery encyclopedias."  Dunno 
>about online sources (maybe googling would get you one of the sites that 
>hosts examples of different stitches)
>--she, who learned how to do this when making "strawberries" for a 17th 
>c. band sampler.....

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

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

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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 1700's dress ?
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You're more than welcome!  I think the pattern would work very well for a
costume party dress.  Have fun!

- Kendra

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
>
> Kendra,
> Thank you. This is very helpful. I am looking at make this pattern for a
> costume party. Since authenticity is not a major fact (an attempt) I
figure
> that I would make a little extra effort. As I said this isn't my era of
> interested and my time is limited that I can put in this dress.
> Thank you again.

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Subject: Re: [h-cost] Queen's Stitch
Date: Thu, 6 May 2004 01:39:19 -0400
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Thanks again for this description.  I will add it to the other and look for
some more of my craft books. I do embroidery and have always put needlepoint
on the back burner.  None of the books to date for n-p show any style of
stitch but bargello and all the variants of the other stitches...except for
Queen,s.
kathleen
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 06, 2004 12:39 AM
Subject: Re: [h-cost] Queen's Stitch


> Huh!
> The variety I know is kind of diamond shaped, done as a series of long
> stitches going from a point of origin on top, to a final point on the
> bottom.  They're spread apart in the center of the diamond by a little
> series of back stitches (done one at a time, once for each long pass).
> Finicky and a pain in the behind to do, but nice textural effects when
> done in a clump....
> I've seen it in a number of (modern) "embroidery encyclopedias."  Dunno
> about online sources (maybe googling would get you one of the sites that
> hosts examples of different stitches)
> --she, who learned how to do this when making "strawberries" for a 17th
> c. band sampler.....
>
> Carolyn Kayta Barrows wrote:
>
> >>I have a hankering to do the chatelaine pin cushion found in the back of
> >>"Fitting and Proper". I have a nice old brass cafe curtain ring with eye
> >>that I think will make a good collar. But I cannot seem to find
directions
> >>for Queen's stitch needlepoint.  Any one have a citation or can describe
how
> >>this stitch is done?
> >
> >
> > It's in the back of that little embroidery book of 18th and early 19th
> > century work from the Wintherthur collection.  I'm terrible at names, so
I
> > don't know if that's the book you have or not.  This book has photos of
> > real stuff in the front, and several embroidery stitches in the back,
and
> > (without being able to find my copy, because it's buried) I'm sure it's
in
> > there.  Failing that, it's in a book called Pincushions (also buried).
> >
> > Queen's stitch is done in a square.  First find the middle hole in the
> > square.  Half the stitches go thru the middle hole and fan out to one of
> > the holes on one side, and the other half of the stitches also go thru
the
> > middle hole and fan out to one of the holes on the opposite side.  This
> > pulls a big hole in the middle, and that's the hole you see in the
photos
> > of things using this stitch.
>
>
> _______________________________________________
> 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 May  6 02:13:08 2004
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From: "Molly Boone" <Rampant_Peacock@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] photo
Date: Wed, 5 May 2004 23:10:28 -0700
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Check out www.cheeptrims.com for your trim.  They sell in bulk lots only but
the prices are incredibly low if they have what you need/want.  You will
probably want the bulk lot for the sheer volume of trim you are probably
going to end up appliqueing.

Molly

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lisa A Ashton
Sent: Wednesday, May 05, 2004 7:52 AM
To: h-costume@indra.com
Subject: Re: [h-cost] photo


HAving a rare day off yesterday (!) and having a bunch of errends to do,
I rambled on over to G Street Fabrics in Rockville (just to look, mind
you, usually too expensive) and was able to pick up some fabric swatches
to start thinking about fabrics for the sepia photo dress.  Two are wool
crepes--medium to heavy, and one is a gorgeous rust color, the other more
of a deep rose beige; the third fabric was from the "specials"table of
men's suitings--it was a nice mid-beige with a sort of random pattern of
pale black vertical short lines (there is probably a name for it, but it
wasn't on the label).  It had the right weight but the crepe drapes
better, of course.

And I found some black spiral tube trim that would look great, although I
foresee I"m going to need a hundred yards of it...   I'm going to try
fabric.com and some of the other online stores to get an idea if I can
lower the price a bit...

And I am think seriously about what sort of hat she would have.

My mom agreed to give me everything she has about her, but the woman (her
grandmother -whom she knows only as "Bubbe"--the Jewish word for grandma)
died when my mom was only three.

Yours in costuming, Lisa A.

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From h-costume-bounces@indra.com  Thu May  6 02:48:02 2004
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From: "Molly Boone" <Rampant_Peacock@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] CW  middleclass
Date: Wed, 5 May 2004 23:44:12 -0700
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ok my 2 cents worth but please keep in mind I'm Elizabethan not Civil war.

I'm not a small woman by any stretch of the imagination.  At my heaviest I
got up to a size 28 at my adult low I've been almost 16 and I'm almost back
there again I'll probably never get below a 12 simply because of my bone
structure, so I really understand the heat issue your talking about.

Now for the good news, I've had very good luck with corsets and my
Elizabethan corsets are minimum 4 layers (1 fashion fabric, 2 trigger or
comparable canvas, 1 flannel).  Now I'll admit I thought the person who told
me to use the flannel next to my skin was insane but I tried it.  IT HELPS.
Flannel will wick the sweat off yet not get rid of it so it creates it's own
A/C system.  You sweat and the flannel wicks the sweat off but it doesn't go
away so it cools next to your skin keeping you cooler.


Oh and I'm a firm believer in solid steel boning if you are over an A cup.
My DD collapsed a mixed plastic and spring stay corset at a very inopportune
moment.

Molly

-----Original Message-----
<snip> seventies and eighties always wears
her costumes with modern foundations.   I surely am concerned with not
being too hot, since my weight causes me to feel the heat quite a bit.
I liked what I read about stays, maybe I will try to duplcate them
rather than corsets since, being heavy, I am concerned with corsets
going weird on me with the modern plastic stays in them.   I'm afraid my
body is liable to bend the plastic in the wrong direction or that I will
be too uncomfortable to sit through church with them.
Oh well, no sense dumping all my mental flutter on you.   I'll cogitate
on it.  LOL  thanks,  Kitty

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Date: Thu, 6 May 2004 07:21:02 -0700
Subject: Re: [h-cost] sepia photo
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I got a little bit of information about the woman in the photo, my
great-grandmother.  Her name was "Gussie"  (I assume short for Augusta)
and she lived from 1876 to 1936.  My own grandmother was born in 1900,
and was a second child.  Gussie's husband  Hyman was only a few year
older than her, but he died young in 1905, just after his last child was
born.  (And I think I remember family 'legend' that she may have come to
the States with her 4 children on her own).

So.  The photo should probably be dated anywhere from about 1893 (she
would have been 17) to about 1898.  I know that my grandma came to the US
around 1906 (at age 6).  And I am looking up some of the sites of the
Jewish shtetls (villages--they were sometimes on the periphery of
towns/cities, although stayed relatively isolated because they were
Jews), but my understanding of marriage then from Jewish literature, is
that girls may have been "betrothed" but were generally not married until
at least 16 or 17. Better-off girls generally were married off later,
although it wasn't unusual for parents to try to arrange marriages at
fairly young ages. I am checking that out.  But she doesn't look
especially adolescent, just young.  And if the photo dated later (1897-8)
she could well be in early pregnancy.

So. even if the photo dates from as early as 1893, the dress could date
somewhat earlier.

I am very much on the side of believing that it was a sort of "collage"
dress--made and re-made in sections.  I am also trying to search
photographers in 19th C. Odessa to see if there are books out there with
similar photos.  And I found a used copy of "Victorian Costume for
LAdies" which I am able to purchase for a good price.  Thank you all so
much, I never expected so much interesting discussion!

Yours in costuming, Lisa A.

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From h-costume-bounces@indra.com  Thu May  6 07:41:02 2004
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From: "Kate Pinner" <pinner@mccc.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <20040506.072109.-350733.0.lisa58@juno.com>
Subject: Re: [h-cost] sepia photo
Date: Thu, 6 May 2004 07:40:19 -0400
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Don't know if it would be relevant, or if you could find it, but the
research than went into "Fiddler on the Roof " (which started life as
"Tevya's Daughters") might be a place to look.
Kate
**************
----- Original Message ----- 
From: "Lisa A Ashton" <lisa58@juno.com>
To: <h-costume@indra.com>
Sent: Thursday, May 06, 2004 10:21 AM
Subject: Re: [h-cost] sepia photo


> I got a little bit of information about the woman in the photo, my
> great-grandmother.  Her name was "Gussie"  (I assume short for Augusta)
> and she lived from 1876 to 1936.  My own grandmother was born in 1900,
> and was a second child.  Gussie's husband  Hyman was only a few year
> older than her, but he died young in 1905, just after his last child was
> born.  (And I think I remember family 'legend' that she may have come to
> the States with her 4 children on her own).
>
> So.  The photo should probably be dated anywhere from about 1893 (she
> would have been 17) to about 1898.  I know that my grandma came to the US
> around 1906 (at age 6).  And I am looking up some of the sites of the
> Jewish shtetls (villages--they were sometimes on the periphery of
> towns/cities, although stayed relatively isolated because they were
> Jews), but my understanding of marriage then from Jewish literature, is
> that girls may have been "betrothed" but were generally not married until
> at least 16 or 17. Better-off girls generally were married off later,
> although it wasn't unusual for parents to try to arrange marriages at
> fairly young ages. I am checking that out.  But she doesn't look
> especially adolescent, just young.  And if the photo dated later (1897-8)
> she could well be in early pregnancy.
>
> So. even if the photo dates from as early as 1893, the dress could date
> somewhat earlier.
>
> I am very much on the side of believing that it was a sort of "collage"
> dress--made and re-made in sections.  I am also trying to search
> photographers in 19th C. Odessa to see if there are books out there with
> similar photos.  And I found a used copy of "Victorian Costume for
> LAdies" which I am able to purchase for a good price.  Thank you all so
> much, I never expected so much interesting discussion!
>
> Yours in costuming, Lisa A.
>
> ________________________________________________________________
> The best thing to hit the Internet in years - Juno SpeedBand!
> Surf the Web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>


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Date: Thu, 6 May 2004 07:33:33 -0700
Subject: Re: [h-cost] CW stays/corsets
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Since we are on the subject of mid-19th C. Corsetes, I have to make a
somewhat later corset--1890's.  Would that have front center busks  with
the metal hinges and back lacings, as well?  When you are talking about
constructing it from center front to center back, are you meaning that
there is a right half and a left half of the corset?  

Yours in costuming, Lisa A.

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Perhaps they were Lowland Scots? Kilts were a Highland tradition.

Kate Bunting
Library, University of Derby

>>> homesewer@blazenet.net 06/05/2004 01:52:13 >>>
I have a Scottish bloodline (Kennedy).  At one of our family reunions
we were told that even thought this line is from Scotland...they did not
wear kilts.  So, not all Scotsmen wore the kilts, but I do not know who
did or who didn`t.  I believe that they said that it depended on the
area where they lived.

Linda
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This website has a color wheel in color, in modern grayscale, and in wet 
plate:

http://www.diochra.com/sewingbird/articles/soap-colors.html

-LRH

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From: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] kilts
To: Historical Costume <h-costume@indra.com>
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The kilt was a Highland tradition. Even then most of
the nobles didn't wear kilts until the 17th-18th
centuries when it became a sort of "nationalist"
statement.
Catalina
(married to an Irvine)


 --- linda sterner <homesewer@blazenet.net> wrote: > I
have a Scottish bloodline (Kennedy).  At one of
> our family reunions we were told that even thought
> this line is from Scotland...they did not wear
> kilts.  So, not all Scotsmen wore the kilts, but I
> do not know who did or who didn`t.  I believe that
> they said that it depended on the area where they
> lived.
> 
> Linda
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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Subject: Re: [h-cost] Scottish Victorian costume
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Work clothes pretty much were indistinguishable as to
country of origin. Trousers, sturdy shoes, shirt and a
short coat. I have seen photos of early railroad
workers where some of the workers were wearing plaid
flat caps or the infamous "tam-o-shanters" in plaid.
Occasionally you'll see a plaid vest. I think after
the 1750, the kilt in Scotland became an uncommon item
until after Victoria made efforts to revive its
popularity. Then it seems to have taken a while for
the working class to warm back up to it.

Catalina 


 --- sylvia@ntw.net wrote: > Now I'm researching
Scottish Victorian costume too,
> also circa 1890-1900. 
> Does anyone know how provalent the wearing of kilts
> would have been and
> who would have worn them?  I've got both working
> class men (mill workers)
> who I'm sure wouldnt be wearing kilts and some
> noblemen that I'm not sure
> of.
> 
> Sylrog
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=====
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Subject: [h-cost] Re: Queen's Stitch
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Found this diagram on line:

http://www.tristanbrooks.com/Stitches/Queen.htm 

I'm another one who has seen it used a lot on early samplers and in the
diamond shape.

Catherine
who wonders why all the porn sites popped up on goggle when she first
searched unde Queens Stitch instead of Queen stitch...........
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <s099f679.044@kumc-smtpout.kumc.edu>
Subject: Re: [h-cost] Re: Queen's Stitch
Date: Thu, 6 May 2004 07:03:13 -0700
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Re the porn sites - from personal experience - I have silk stockings
discussed on one of my web pages, some porn operator did a key word search
for sites with the words silk stockings and created a page with small
segments of text surrounding silk stockings, in my case thrednedle strete
and fastidious - they posted this page for the search engines to pick up
then put a redirection on it to send people to porn.  I'm all for free
speech, but didn't appreciate people using my site to direct people to porn
especially when oodles of grade schools search for info on my site.  I
reported this to google as you are not supposed to set up pages simple for
search engines.  The site was dropped from google's directory, but no doubt
it will reappear in another form eventually.

Lisa Sinervo

----- Original Message -----
From: "Catherine Kinsey" <ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Thursday, May 06, 2004 6:25 AM
Subject: [h-cost] Re: Queen's Stitch


> Found this diagram on line:
>
> http://www.tristanbrooks.com/Stitches/Queen.htm
>
> I'm another one who has seen it used a lot on early samplers and in the
> diamond shape.
>
> Catherine
> who wonders why all the porn sites popped up on goggle when she first
> searched unde Queens Stitch instead of Queen stitch...........
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Thu, 6 May 2004 08:27:16 -0600 (MDT)
Subject: Re: [h-cost] kilts
From: sylvia@ntw.net
To: "Historical Costume" <h-costume@indra.com>
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Then play takes place in Lancashire.  Is that the highlands?>

 The kilt was a Highland tradition. Even then most of
> the nobles didn't wear kilts until the 17th-18th
> centuries when it became a sort of "nationalist"
> statement.
> Catalina
> (married to an Irvine)
>
>
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Not only is Lancashire not the Highlands, it's not even in Scotland! It's certainly in Northern England, but it's roughly parallel to Yorkshire. Your folks would sound more Liverpuddlian than Highland....think 'All Creatures Great and Small'. 



Karen

-- sylvia@ntw.net wrote:
Then play takes place in Lancashire.  Is that the highlands?>

 The kilt was a Highland tradition. Even then most of
> the nobles didn't wear kilts until the 17th-18th
> centuries when it became a sort of "nationalist"
> statement.
> Catalina
> (married to an Irvine)
>
>
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From: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] kilts
To: Historical Costume <h-costume@indra.com>
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No. its on the Irish Sea on the west coast of Britain,
it is Southwest of Northumberland. The Romans may have
considered it Scotland at one time. But its definitely
not the Highlands. The area is also referred to as the
Lake District.
Catalina

 --- sylvia@ntw.net wrote: > Then play takes place in
Lancashire.  Is that the
> highlands?>
> 
>  The kilt was a Highland tradition. Even then most
> of
> > the nobles didn't wear kilts until the 17th-18th
> > centuries when it became a sort of "nationalist"
> > statement.
> > Catalina
> > (married to an Irvine)
> >
> >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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What play?

Lancashire isn't even in Scotland - it's in northern England!



Kate Bunting
Library, University of Derby

>>> sylvia@ntw.net 06/05/2004 15:27:16 >>>
Then play takes place in Lancashire.  Is that the highlands?>

 The kilt was a Highland tradition. Even then most of
> the nobles didn't wear kilts until the 17th-18th
> centuries when it became a sort of "nationalist"
> statement.
> Catalina
> (married to an Irvine)
>
>
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Date: Thu, 06 May 2004 16:27:15 +0100
To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] kilts
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On 16:08 06/05/2004 seamstrix@juno.com said
>The kilt was a Highland tradition. Even then most of
> > the nobles didn't wear kilts until the 17th-18th
> > centuries when it became a sort of "nationalist"
> > statement.

The kilt didn't exist before about 1730, when a roadworker, tired of his 
Scottish workers wasting time rolling themselves into their plaids every 
morning, designed a ready sewn affair they would just have to belt on. Clan 
tartans didn't exist before Queen Victoria made a cult of them, following 
the example set shortly before by the Black Watch, a British army regiment. 
Before that it was Great Kilts, or plaids, dyed in locally available 
colours, so the patterns were regional, but not clan specific. After the 
'forty five, the wearing of the plaid was banned by law, and wasn't 
re-introduced until later in the century, although a few Jacobite 
supporters stuck to their guns.


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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From h-costume-bounces@indra.com  Thu May  6 11:35:17 2004
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Subject: Re: [h-cost] Re: Queen's Stitch
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Ah, Thankyou! My project is taking on a life of its own.  Just picked up 4
more books from our stupendous annual Library sale, and found the pattern I
wanted.
I am now wondering the identification format for the pattern that is called
"Queens" in "Fitting and Proper".  It plainly differs from the two or three
names (like Algerian eye, Flat laid, and embellished daisy) that are
garnered from the 8 or 10 volumes I have at hand.
Also of interest, is the origin of 'Queens'. For those of you who do the
decorative arts in periods before 1750, is there a particular Queen who did
needlepoint embroiderie? (besides the Norman conquest canvases?
Kathleen----- Original Message ----- 
From: "Catherine Kinsey" <ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Thursday, May 06, 2004 9:25 AM
Subject: [h-cost] Re: Queen's Stitch


> Found this diagram on line:
>
> http://www.tristanbrooks.com/Stitches/Queen.htm
>
> I'm another one who has seen it used a lot on early samplers and in the
> diamond shape.
>
> Catherine
> who wonders why all the porn sites popped up on goggle when she first
> searched unde Queens Stitch instead of Queen stitch...........
> _______________________________________________
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Subject: Re: [h-cost] kilts
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On 16:12 06/05/2004 Catalina Saravia Quicedo said
>No. its on the Irish Sea on the west coast of Britain,
>it is Southwest of Northumberland. The Romans may have
>considered it Scotland at one time. But its definitely
>not the Highlands. The area is also referred to as the
>Lake District.

Nearly right. The Lake District is in Cumbria, one county up from us in 
Lancashire.
Gracie Fields, anyone?


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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From h-costume-bounces@indra.com  Thu May  6 11:59:58 2004
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Date: Thu, 06 May 2004 09:39:55 -0600
Subject: Re: [h-cost] kilts
From: Sylvia <sylvia@ntw.net>
To: Historical Costume <h-costume@indra.com>
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Really?  One of the lead characters is described as  Scottish miller, so I
assumed he would be living and working in Scotland.  And there's an episode
in the play which is supposed to have taken place right at the border of
Scotland and England, so it may be that some of the characters are Scottish.

> From: seamstrix@juno.com
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Thu, 6 May 2004 15:08:00 GMT
> To: h-costume@indra.com
> Subject: Re: [h-cost] kilts
> 
> 
> Not only is Lancashire not the Highlands, it's not even in Scotland! It's
> certainly in Northern England, but it's roughly parallel to Yorkshire. Your
> folks would sound more Liverpuddlian than Highland....think 'All Creatures
> Great and Small'.
> 
> 
> 

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Date: Thu, 06 May 2004 09:41:02 -0600
Subject: Re: [h-cost] kilts
From: Sylvia <sylvia@ntw.net>
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So would it have been worn around 1890 by anyone?

> From: Lynne Connolly <lynneconnolly@ntlworld.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Thu, 06 May 2004 16:27:15 +0100
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] kilts
> 
> On 16:08 06/05/2004 seamstrix@juno.com said
>> The kilt was a Highland tradition. Even then most of
>>> the nobles didn't wear kilts until the 17th-18th
>>> centuries when it became a sort of "nationalist"
>>> statement.
> 
> The kilt didn't exist before about 1730, when a roadworker, tired of his
> Scottish workers wasting time rolling themselves into their plaids every
> morning, designed a ready sewn affair they would just have to belt on. Clan
> tartans didn't exist before Queen Victoria made a cult of them, following
> the example set shortly before by the Black Watch, a British army regiment.
> Before that it was Great Kilts, or plaids, dyed in locally available
> colours, so the patterns were regional, but not clan specific. After the
> 'forty five, the wearing of the plaid was banned by law, and wasn't
> re-introduced until later in the century, although a few Jacobite
> supporters stuck to their guns.
> 
> 
> Lynne Connolly, GSOLFOT
> The latest Richard and Rose adventure, HARLEY STREET, is here!
> http://www.novelbooksinc.com/>Novelbooks Inc.
> http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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it's not even in Scotland! it's a county in NW England

http://www.pickatrail.com/jupiter/location/europe/england/lancashire.html

> 
> From: sylvia@ntw.net
> Date: 2004/05/06 Thu AM 07:27:16 PDT
> To: "Historical Costume" <h-costume@indra.com>
> Subject: Re: [h-cost] kilts
> 
> Then play takes place in Lancashire.  Is that the highlands?>
> 
>  The kilt was a Highland tradition. Even then most of
> > the nobles didn't wear kilts until the 17th-18th
> > centuries when it became a sort of "nationalist"
> > statement.
> > Catalina
> > (married to an Irvine)
> >
> >
> _______________________________________________
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> h-costume@mail.indra.com
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here are a couple sites I think are pretty reliable (and cite documentation) about the history of Highland dress, and specifically the kilt:

http://www.albanach.org/

http://www.reconstructinghistory.com/scottish/kilts.html

http://www.medievalscotland.org/clothing/



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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] kilts
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Many people have told you that Lancashire is in England.  But do you 
perhaps mean Lanarkshire?  That's in Scotland, sort of south-east of 
Glasgow.  A very fertile, agricultural part of the Lowlands.  Going just 
on vague memories of folk songs etc, I think the name Kennedy would fit 
with that area.  If you look for clan websites you will probably find 
maps to show you.

Jean
(who lives in Edinburgh)


sylvia@ntw.net wrote
>Then play takes place in Lancashire.  Is that the highlands?>
>
> The kilt was a Highland tradition. Even then most of
>> the nobles didn't wear kilts until the 17th-18th
>> centuries when it became a sort of "nationalist"
>> statement.
>> Catalina
>> (married to an Irvine)
>>
>>
>_______________________________________________
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Scottish Victorian costume
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I think you would find a marked urban/rural split as well.  The rich 
folks might have had their servants wear kilts on their Highland estates 
(like John Brown) but not in town.  I get the impression it was a 
"fantasy" fashion, rather than a "sophisticated" fashion, if that makes 
sense.

Kilts were, of course, quickly adopted for the uniform of some Scottish 
regiments, and you would see more people going about in uniform in 
Victorian times, so that might be a factor.

As to the working class wearing them, kilts are very expensive - there's 
a huge amount of high quality wool in there, which costs once you have 
to buy it instead of having your own clan's sheep and your women to 
weave it. I don't think the working classes could afford it on their own 
account.

Just my un-learned tuppence-worth

Jean


Catalina Saravia Quicedo <ladyforbeys@yahoo.com> wrote
>Work clothes pretty much were indistinguishable as to
>country of origin. Trousers, sturdy shoes, shirt and a
>short coat. I have seen photos of early railroad
>workers where some of the workers were wearing plaid
>flat caps or the infamous "tam-o-shanters" in plaid.
>Occasionally you'll see a plaid vest. I think after
>the 1750, the kilt in Scotland became an uncommon item
>until after Victoria made efforts to revive its
>popularity. Then it seems to have taken a while for
>the working class to warm back up to it.
>
>Catalina
>
>
> --- sylvia@ntw.net wrote: > Now I'm researching
>Scottish Victorian costume too,
>> also circa 1890-1900.
>> Does anyone know how provalent the wearing of kilts
>> would have been and
>> who would have worn them?  I've got both working
>> class men (mill workers)
>> who I'm sure wouldnt be wearing kilts and some
>> noblemen that I'm not sure
>> of.
>>
>> Sylrog
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>
>=====
>Catalina
>Aurum peccamenes multifariam texit
>
>
>
>
>
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Subject: Re: [h-cost] kilts
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The play does say Lancashire.  I'm trying to get word from the director as
to what he knows about it.

> Many people have told you that Lancashire is in England.  But do you
> perhaps mean Lanarkshire?  That's in Scotland, sort of south-east of
> Glasgow.  A very fertile, agricultural part of the Lowlands.  Going just
> on vague memories of folk songs etc, I think the name Kennedy would fit
> with that area.  If you look for clan websites you will probably find
> maps to show you.
>
> Jean
> (who lives in Edinburgh)
>
>
> sylvia@ntw.net wrote
>>Then play takes place in Lancashire.  Is that the highlands?>
>>
>> The kilt was a Highland tradition. Even then most of
>>> the nobles didn't wear kilts until the 17th-18th
>>> centuries when it became a sort of "nationalist"
>>> statement.
>>> Catalina
>>> (married to an Irvine)
>>>
>>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
> --
> Jean Waddie
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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From: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] kilts
To: Historical Costume <h-costume@indra.com>
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yes, there are some photos of people with ties to
Victoria's Court and a few other prominent members of
British Society wearing kilts. High quality wool was
very expensive, so the average joe on the street
probably would not have been seen in one unless he was
a member of a Highland Regiment. 
as a side note, the British credited their defeat at
Crimea to the fact that the regiment for trews into
battle for once time instead of their kilts. A
situation which previously occured at the battle for
New Orleans cicra 1812.

Catalina


 --- Sylvia <sylvia@ntw.net> wrote: > So would it have
been worn around 1890 by anyone?
> 
> > From: Lynne Connolly <lynneconnolly@ntlworld.com>
> > Reply-To: Historical Costume <h-costume@indra.com>
> > Date: Thu, 06 May 2004 16:27:15 +0100
> > To: Historical Costume <h-costume@indra.com>
> > Subject: Re: [h-cost] kilts
> > 
> > On 16:08 06/05/2004 seamstrix@juno.com said
> >> The kilt was a Highland tradition. Even then most
> of
> >>> the nobles didn't wear kilts until the 17th-18th
> >>> centuries when it became a sort of "nationalist"
> >>> statement.
> > 


=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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From: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] kilts
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well its not that far south from Cumbria, and the
distances involved are not that great, relatively
speaking. Its not impossible.

Catalina


 --- Sylvia <sylvia@ntw.net> wrote: > Really?  One of
the lead characters is described as 
> Scottish miller, so I
> assumed he would be living and working in Scotland. 
> And there's an episode
> in the play which is supposed to have taken place
> right at the border of
> Scotland and England, so it may be that some of the
> characters are Scottish.
> 


=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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By the end of the 19th century, travel was pretty easy thru most of England and Scotland. I wouldn't be surprised to find a Scot working in Northern England. People will go where the work is. However, unless the play specifically mentions that he is a Highlander, I would hesitate to dress him as one. Folks in the Highlands didn't move around as much Lowland Scots so a Lowlander is a much better bet and a Lowlander would definitely not be wearing a kilt. And Lancashire is near the English/Scottish border, but the border areas (Debatable Lands) were definitely populated by non-kilt wearing Lowlanders who dressed pretty much the same as their English opposite numbers.


Karen

-- Sylvia <sylvia@ntw.net> wrote:
Really?  One of the lead characters is described as  Scottish miller, so I
assumed he would be living and working in Scotland.  And there's an episode
in the play which is supposed to have taken place right at the border of
Scotland and England, so it may be that some of the characters are Scottish.



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Date: Thu, 06 May 2004 13:15:03 -0600
Subject: Re: [h-cost] kilts
From: Sylvia <sylvia@ntw.net>
To: Historical Costume <h-costume@indra.com>
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It's the Scottish guy's own mill, so one would assume that the mill is in
Scotland if he is Scottish.  But its the higher class guys in the play that
I was wondering if they would be in kilts.  One has the title of lord.

> From: seamstrix@juno.com
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Thu, 6 May 2004 19:10:01 GMT
> To: h-costume@indra.com
> Subject: Re: [h-cost] kilts
> 
> 
> By the end of the 19th century, travel was pretty easy thru most of England
> and Scotland. I wouldn't be surprised to find a Scot working in Northern
> England. People will go where the work is. However, unless the play
> specifically mentions that he is a Highlander, I would hesitate to dress him
> as one. Folks in the Highlands didn't move around as much Lowland Scots so a
> Lowlander is a much better bet and a Lowlander would definitely not be wearing
> a kilt. And Lancashire is near the English/Scottish border, but the border
> areas (Debatable Lands) were definitely populated by non-kilt wearing
> Lowlanders who dressed pretty much the same as their English opposite numbers.
> 
> 
> Karen
> 
> -- Sylvia <sylvia@ntw.net> wrote:
> Really?  One of the lead characters is described as  Scottish miller, so I
> assumed he would be living and working in Scotland.  And there's an episode
> in the play which is supposed to have taken place right at the border of
> Scotland and England, so it may be that some of the characters are Scottish.
> 
> 
> 
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Subject: Re: [h-cost]1890s corsets (was: CW stays/corsets)
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----- Original Message ----- 
From: "Lisa A Ashton" <lisa58@juno.com>

> Since we are on the subject of mid-19th C. Corsetes, I have to make a
> somewhat later corset--1890's.  Would that have front center busks  with
> the metal hinges and back lacings, as well?

Most of the time, yes. There were styles that didn't fit this mold,
though--for example, some just buttoned up the front, such as the Ferris
Good Sense and the Equipoise. In fact, some styles were available in models
that didn't even lace. (For the college girl, or the bicyclist, or the
basketball player, or the calisthenist, or...)

> When you are talking about
> constructing it from center front to center back, are you meaning that
> there is a right half and a left half of the corset?

For those that lace at back and fasten at front, yes. Picture unlacing it
completely, and unfastening the front. Boom, two pieces: left half, right
half.

On the subject of construction:
Someone mentioned earlier that sewing both inner and outer layers into the
seam for each section is stronger, more durable, and creates a nicer
finished effect. (This is often referred to as flatlining, though the term
is a bit misleading, because the two layers are NOT treated as though they
are one layer, as they are in what we generally call flatlining here. Look
at figure 2 on this website
http://thescholarsgarret.com/artifact/article_kirtle.html for a diagram.)
This is absolutely true; it is more durable, and makes it a bit easier to
get everything perfectly matched up. Unfortunately, it only works with a
limited range of corset styles.

An error many make, when it comes to corsetmaking, is to always try to put
the boning at or near the seams. While this is accurate and workable for
some styles, it is NOT accurate nor workable for many, many others. For
example, trying to bone an Edwardian corset on the seams would not only make
your head explode, it would be horribly painful if you actually managed it.
Either that, or your pattern would just be... wrong, and wouldn't create the
Edwardian silhouette. Most gored corsets, in general, should not be boned at
the seams, even if it's technically possible. Even with many simple panelled
corsets, the seam lines are not laid in such a way that a piece of boning
would lie flat along it; instead, it would twist and dig into your flesh or
your hipbones at the least comfortable places possible. Designing a corset
where the bones will lie properly if laid in along the seams is actually a
very difficult process, and generally not worth the effort!

Search eBay--you'll generally find a ton of corset advertisements, which
often show clear diagrams of where the seams and where the bones lie on
popular corset styles. The Library of Congress's image library is also very
handy (though a lot more tedious to search) and the US Patent Office (even
more tedious to search) also has a surprising number of good images.

What style of 1890s corset are you making, and what are you planning to wear
it with?

-E

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From: Ron Carnegie <r.carnegie@verizon.net>
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Subject: Re: Re: [h-cost] kilts
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     I wouldn't think that just because he is Scottish that the mill is in Scotland.  That fact that they refer to him as Scottish suggests to me that the others are not.  In the period I work we have a number of Scottish Merchants but their stores are not in Scotland.  I think that Kennedy is a border name by the way.

Cheers,
Ron
> 
> From: Sylvia <sylvia@ntw.net>
> Date: 2004/05/06 Thu PM 03:15:03 EDT
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] kilts
> 
> It's the Scottish guy's own mill, so one would assume that the mill is in
> Scotland if he is Scottish.  But its the higher class guys in the play that
> I was wondering if they would be in kilts.  One has the title of lord.
> 
> > From: seamstrix@juno.com
> > Reply-To: Historical Costume <h-costume@indra.com>
> > Date: Thu, 6 May 2004 19:10:01 GMT
> > To: h-costume@indra.com
> > Subject: Re: [h-cost] kilts
> > 
> > 
> > By the end of the 19th century, travel was pretty easy thru most of England
> > and Scotland. I wouldn't be surprised to find a Scot working in Northern
> > England. People will go where the work is. However, unless the play
> > specifically mentions that he is a Highlander, I would hesitate to dress him
> > as one. Folks in the Highlands didn't move around as much Lowland Scots so a
> > Lowlander is a much better bet and a Lowlander would definitely not be wearing
> > a kilt. And Lancashire is near the English/Scottish border, but the border
> > areas (Debatable Lands) were definitely populated by non-kilt wearing
> > Lowlanders who dressed pretty much the same as their English opposite numbers.
> > 
> > 
> > Karen
> > 
> > -- Sylvia <sylvia@ntw.net> wrote:
> > Really?  One of the lead characters is described as  Scottish miller, so I
> > assumed he would be living and working in Scotland.  And there's an episode
> > in the play which is supposed to have taken place right at the border of
> > Scotland and England, so it may be that some of the characters are Scottish.
> > 
> > 
> > 
> > ________________________________________________________________
> > The best thing to hit the Internet in years - Juno SpeedBand!
> > Surf the Web up to FIVE TIMES FASTER!
> > Only $14.95/ month - visit www.juno.com to sign up today!
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From h-costume-bounces@indra.com  Thu May  6 15:55:47 2004
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <ECEBJOHHAJEHNFAIHMCCGECKCCAA.Rampant_Peacock@comcast.net>
Subject: Re: [h-cost] photo
Date: Thu, 6 May 2004 15:59:31 -0400
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Or you can buy your braid from them, if you can find an appropriate one and
reconstruct the lovely pattern on your picture.  (The first time I did the
down-load, the pattern of the braid was so clear in the blown up version.
You could also get a nice reel of black satin cord from Fire Mountain and
put it with a fancy reel from Homesew.com, (their Victorian braid trim:about
$12 for maybe 20 yds.)
Kathleen
----- Original Message ----- 
From: "Molly Boone" <Rampant_Peacock@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 06, 2004 2:10 AM
Subject: RE: [h-cost] photo


> Check out www.cheeptrims.com for your trim.  They sell in bulk lots only
but
> the prices are incredibly low if they have what you need/want.  You will
> probably want the bulk lot for the sheer volume of trim you are probably
> going to end up appliqueing.
>
> Molly
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lisa A Ashton
> Sent: Wednesday, May 05, 2004 7:52 AM
> To: h-costume@indra.com
> Subject: Re: [h-cost] photo
>
>
> HAving a rare day off yesterday (!) and having a bunch of errends to do,
> I rambled on over to G Street Fabrics in Rockville (just to look, mind
> you, usually too expensive) and was able to pick up some fabric swatches
> to start thinking about fabrics for the sepia photo dress.  Two are wool
> crepes--medium to heavy, and one is a gorgeous rust color, the other more
> of a deep rose beige; the third fabric was from the "specials"table of
> men's suitings--it was a nice mid-beige with a sort of random pattern of
> pale black vertical short lines (there is probably a name for it, but it
> wasn't on the label).  It had the right weight but the crepe drapes
> better, of course.
>
> And I found some black spiral tube trim that would look great, although I
> foresee I"m going to need a hundred yards of it...   I'm going to try
> fabric.com and some of the other online stores to get an idea if I can
> lower the price a bit...
>
> And I am think seriously about what sort of hat she would have.
>
> My mom agreed to give me everything she has about her, but the woman (her
> grandmother -whom she knows only as "Bubbe"--the Jewish word for grandma)
> died when my mom was only three.
>
> Yours in costuming, Lisa A.
>
> ________________________________________________________________
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From h-costume-bounces@indra.com  Thu May  6 16:04:44 2004
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Subject: Re: [h-cost] kilts
From: Sylvia <sylvia@ntw.net>
To: Historical Costume <h-costume@indra.com>
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I think that is the case.  I just did a Google search for the play and
discovered in a synopsis that he has leased the mill from his brother.

So here's another question:  Were there squires and lords in Scotland?  I
was thinking I might put one of the nobles in kilts.

> From: Ron Carnegie <r.carnegie@verizon.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Thu, 6 May 2004 15:54:03 -0400
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: Re: [h-cost] kilts
> 
> I wouldn't think that just because he is Scottish that the mill is in
> Scotland.  That fact that they refer to him as Scottish suggests to me that
> the others are not.  In the period I work we have a number of Scottish
> Merchants but their stores are not in Scotland.  I think that Kennedy is a
> border name by the way.
> 
> Cheers,
> Ron
>> 
>> From: Sylvia <sylvia@ntw.net>
>> Date: 2004/05/06 Thu PM 03:15:03 EDT
>> To: Historical Costume <h-costume@indra.com>
>> Subject: Re: [h-cost] kilts
>> 
>> It's the Scottish guy's own mill, so one would assume that the mill is in
>> Scotland if he is Scottish.  But its the higher class guys in the play that
>> I was wondering if they would be in kilts.  One has the title of lord.
>> 
>>> From: seamstrix@juno.com
>>> Reply-To: Historical Costume <h-costume@indra.com>
>>> Date: Thu, 6 May 2004 19:10:01 GMT
>>> To: h-costume@indra.com
>>> Subject: Re: [h-cost] kilts
>>> 
>>> 
>>> By the end of the 19th century, travel was pretty easy thru most of England
>>> and Scotland. I wouldn't be surprised to find a Scot working in Northern
>>> England. People will go where the work is. However, unless the play
>>> specifically mentions that he is a Highlander, I would hesitate to dress him
>>> as one. Folks in the Highlands didn't move around as much Lowland Scots so a
>>> Lowlander is a much better bet and a Lowlander would definitely not be
>>> wearing
>>> a kilt. And Lancashire is near the English/Scottish border, but the border
>>> areas (Debatable Lands) were definitely populated by non-kilt wearing
>>> Lowlanders who dressed pretty much the same as their English opposite
>>> numbers.
>>> 
>>> 
>>> Karen
>>> 
>>> -- Sylvia <sylvia@ntw.net> wrote:
>>> Really?  One of the lead characters is described as  Scottish miller, so I
>>> assumed he would be living and working in Scotland.  And there's an episode
>>> in the play which is supposed to have taken place right at the border of
>>> Scotland and England, so it may be that some of the characters are Scottish.
>>> 
>>> 
>>> 
>>> ________________________________________________________________
>>> 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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>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>> 
>> _______________________________________________
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> 
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Subject: [h-cost] source for silk grosgrain ribbon?
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Does anyone have a source, online or catalogue, for
silk grosgrain ribbon? Google searches aren't coming
up with much. I'm looking for colors but white will
do, in 7/8" or wider.

Thanks very much,
Claudine


	
		
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Subject: Re: [h-cost] source for silk grosgrain ribbon?
From: Lynn Downward <LDownward@chori.org>
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I've only heard of silk grosgrain ribbon in vintage hats. If you do find a
source, would you please share?  The only grosgrain I've seen is all poly,
all acetate, or poly-cotton blend.  I'd love to redress some of my vintage
hats with real silk grosgrain.

LynnD


On 5/6/04 1:10 PM, "Claudine" <claudine_on_the_net@yahoo.com> wrote:

> Does anyone have a source, online or catalogue, for
> silk grosgrain ribbon? Google searches aren't coming
> up with much. I'm looking for colors but white will
> do, in 7/8" or wider.
> 
> Thanks very much,
> Claudine
> 
> 
> 
> 
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Date: Thu, 6 May 2004 21:22:14 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] kilts
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I don't think they were "Debateable Lands" by the end of the 19th 
century. We were really pretty civilised by then, you know ;-)

I'm not even sure whether Highlanders were still routinely wearing the 
kilt by this period.  I would guess more the same as poor farmers 
everywhere - trousers, shirt, waistcoat, flat cap.

Jean



seamstrix@juno.com wrote
>
>By the end of the 19th century, travel was pretty easy thru most of 
>England and Scotland. I wouldn't be surprised to find a Scot working in 
>Northern England. People will go where the work is. However, unless the 
>play specifically mentions that he is a Highlander, I would hesitate to 
>dress him as one. Folks in the Highlands didn't move around as much 
>Lowland Scots so a Lowlander is a much better bet and a Lowlander would 
>definitely not be wearing a kilt. And Lancashire is near the 
>English/Scottish border, but the border areas (Debatable Lands) were 
>definitely populated by non-kilt wearing Lowlanders who dressed pretty 
>much the same as their English opposite numbers.
>
>
>Karen
>
>-- Sylvia <sylvia@ntw.net> wrote:
>Really?  One of the lead characters is described as  Scottish miller, so I
>assumed he would be living and working in Scotland.  And there's an episode
>in the play which is supposed to have taken place right at the border of
>Scotland and England, so it may be that some of the characters are Scottish.
>
>
>
>________________________________________________________________
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-- 
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Thanks for the corset innfo.  I will be making the corset for the foundation of making the mid-1890'2 dress in the seepia print that I posted at www.oldwaylane.net/ukrainian/html

I am looking to make a corset with a longer torso, to the hips, if possible.

Yours in costuming, Lisa A.

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Date: Thu, 06 May 2004 22:09:19 +0100
To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] kilts
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On 20:15 06/05/2004 Sylvia said
>It's the Scottish guy's own mill, so one would assume that the mill is in
>Scotland if he is Scottish.  But its the higher class guys in the play that
>I was wondering if they would be in kilts.  One has the title of lord.

By the 1890's kilts were fancy dress. Dress kilts were (and are) used on 
special occasions like weddings, but not otherwise. John Brown wore one 
because Vicky liked it.
I nearly choked when someone described Lancashire as being 'near Scotland.' 
Take it from a resident. It isn't.


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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Date: Thu, 06 May 2004 14:55:15 -0600
Subject: Re: [h-cost] kilts
From: Sylvia <sylvia@ntw.net>
To: Historical Costume <h-costume@indra.com>
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How far away is it?

> From: Lynne Connolly <lynneconnolly@ntlworld.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Thu, 06 May 2004 22:09:19 +0100
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] kilts
> 
> On 20:15 06/05/2004 Sylvia said
>> It's the Scottish guy's own mill, so one would assume that the mill is in
>> Scotland if he is Scottish.  But its the higher class guys in the play that
>> I was wondering if they would be in kilts.  One has the title of lord.
> 
> By the 1890's kilts were fancy dress. Dress kilts were (and are) used on
> special occasions like weddings, but not otherwise. John Brown wore one
> because Vicky liked it.
> I nearly choked when someone described Lancashire as being 'near Scotland.'
> Take it from a resident. It isn't.
> 
> 
> Lynne Connolly, GSOLFOT
> The latest Richard and Rose adventure, HARLEY STREET, is here!
> http://www.novelbooksinc.com/>Novelbooks Inc.
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Date: Thu, 06 May 2004 22:16:29 +0100
To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] kilts
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On 20:45 06/05/2004 Sylvia said
>So here's another question:  Were there squires and lords in Scotland?  I
>was thinking I might put one of the nobles in kilts.

I appreciate that you like kilts. But no Scotsman would use a kilt as 
everyday wear in the late nineteenth century, unless they were making some 
kind of point. By the 1890's we had the telephone, the telegram, and the 
railway. As others have said, kilts are expensive, and are kept for 
ceremonial and dress wear. Scotsmen don't generally declare their 
nationality until they open their mouths, and my friend (a Macrae married 
to a Malcolm) went to an English boarding school, so sometimes not even then!
Lords and ladies abound in Scotland (the late Queen Mother was a Scot, 
daughter of the Earl of Strathmore). If you want specific titles, you 
should be able to find some on the Debrett's website. There are some 
differences between Scottish and English nobility, mainly in the area of 
inheritance and the title of 'Master,' but generally speaking, the usage is 
similar.

Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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Date: Thu, 06 May 2004 15:05:05 -0600
Subject: Re: [h-cost] kilts
From: Sylvia <sylvia@ntw.net>
To: Historical Costume <h-costume@indra.com>
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Thank you all for your expertise on kilts!  You are a wealth of information.
Ok. I'll rethink the kilt idea.

> From: Lynne Connolly <lynneconnolly@ntlworld.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Thu, 06 May 2004 22:16:29 +0100
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] kilts
> 
> On 20:45 06/05/2004 Sylvia said
>> So here's another question:  Were there squires and lords in Scotland?  I
>> was thinking I might put one of the nobles in kilts.
> 
> I appreciate that you like kilts. But no Scotsman would use a kilt as
> everyday wear in the late nineteenth century, unless they were making some
> kind of point. By the 1890's we had the telephone, the telegram, and the
> railway. As others have said, kilts are expensive, and are kept for
> ceremonial and dress wear. Scotsmen don't generally declare their
> nationality until they open their mouths, and my friend (a Macrae married
> to a Malcolm) went to an English boarding school, so sometimes not even then!
> Lords and ladies abound in Scotland (the late Queen Mother was a Scot,
> daughter of the Earl of Strathmore). If you want specific titles, you
> should be able to find some on the Debrett's website. There are some
> differences between Scottish and English nobility, mainly in the area of
> inheritance and the title of 'Master,' but generally speaking, the usage is
> similar.
> 
> Lynne Connolly, GSOLFOT
> The latest Richard and Rose adventure, HARLEY STREET, is here!
> http://www.novelbooksinc.com/>Novelbooks Inc.
> http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Hehehehe....sorry that's my RenFaire character creeping out to play. I
play Philadelphia Carey, Lady Scrope of Bolton. Her father was Henry
Carey, Lord Hunsdon, Warden of the Western Marches and Commander of
Berwick and her husband and father-in-law (The Lords Scrope of Bolton)
were pretty much hereditary Wardens of the Eastern Marches and Commanders
of Carlisle so to my mind the lands ARE Debatable.....very Debatable!


Karen
(identity crisis? what identity crisis?)


On Thu, 6 May 2004 21:22:14 +0100 Jean Waddie
<anne@montgomerie.demon.co.uk> writes:
> I don't think they were "Debateable Lands" by the end of the 19th 
> century. We were really pretty civilised by then, you know ;-)
> 

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Subject: Re: [h-cost] CW  middleclass
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I
> Try these sites and see if 
> you can find something more in line with what you were picturing:
> 
> http://www.lafnmoon.com/
> http://www.pastpatterns.com/
> http://www.alteryears.com/
> http://www.patternsoftime.com
> 

Also if you are looking for a later period (1870-1900) try 
www.trulyvictorian.com
Heather and Laura MacNaughton have developed some wonderful Victorian 
patterns for hoops and bustle periods.  They are very helpful on the phone as well.

Good luck.

Donna Scarfe
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com
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Subject: [h-cost] Re: source for silk grosgrain ribbon?
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Claudine,
Find a company that sells Mokuba Ribbon. They deal predominately in Silk or milk protein derivative ribbon products. It's impossible to tell the difference between the two by look and feel.
 
Kathy


Subject: [h-cost] source for silk grosgrain ribbon?
Does anyone have a source, online or catalogue, for
silk grosgrain ribbon? Google searches aren't coming
up with much. I'm looking for colors but white will
do, in 7/8" or wider.




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Lynne Connolly wrote:

> I nearly choked when someone described Lancashire as being 'near 
> Scotland.' Take it from a resident. It isn't.
> 

Your borders are what, approximately 100km apart? That's about the 
distance my husband drives to work each morning. To us Americans, you 
are quite "near", indeed. :)


Dawn


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On 16:41 06/05/2004 Sylvia said
>So would it have been worn around 1890 by anyone?

Yes. John Brown wore one.


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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Subject: Re: [h-cost] kilts
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Who's John Brown?

> From: Lynne Connolly <lynneconnolly@ntlworld.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Thu, 06 May 2004 19:50:30 +0100
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] kilts
> 
> On 16:41 06/05/2004 Sylvia said
>> So would it have been worn around 1890 by anyone?
> 
> Yes. John Brown wore one.
> 
> 
> Lynne Connolly, GSOLFOT
> The latest Richard and Rose adventure, HARLEY STREET, is here!
> http://www.novelbooksinc.com/>Novelbooks Inc.
> http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>
> 
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Tiffsewsstuff@aol.com wrote:
> First I just wanted to say that I thought Carolann's post did an 
> excellent job of covering exactly this question.  Much of the 
> information in Terese's post about what qualified as 19th century 
> "flashy" was simply inaccurate, and I think Carolann did a great job 
> of clearing that up.  I don't think it was meant to be at all hard on 
> Terese, but with all due respect, if you don't actually *know* what 
> constitutes period accuracy - or if most of what you do know has come 
> from movies or TV - it's probably best to let others answer a question 
> like that, rather than put forth information that may lead people in 
> the wrong direction.
> A conservative Christian woman from Boston, dressing nicely and 
> modestly, could very easily have worn a deep red gown with feathers
>  on her hat.  I think what Carolann was trying to do was keep you from 
> feeling like you're limited to gray silk from your nose to your toes, 
> if you want an accurate presentation. 


I see, I didn't understand what she was trying to say.   thank you for
clarifying that.



> 
> Moving on:
> 
> "when I began looking for a pattern for my dress, the major pattern 
> books, (simp, Butterick and MCcalls)


> Your instincts are already serving you extremely well.  There are very few
> commercial type patterns from those companies, that are worth the paper they're
> printed on from an historical-accuracy standpoint.  Try these sites and see if
> you can find something more in line with what you were picturing:
> 
> http://www.lafnmoon.com/
> http://www.pastpatterns.com/
> http://www.alteryears.com/
> http://www.patternsoftime.com

I really like the skirts on http://www.patternsoftime.com/cat112.html
but to be practical maybe I should stick with something more simple like
the walking skirt on the previous page.   I guess that wouldn't have
been acceptable to wear to church at that time, but I imagine it will
still be nice for church now days.   



> BUSTLE
  Each (Bustle era) had its own distinct characteristics, and you might
find that one
> or the other suits the look that you are wanting better.  Here's a great site
> with information on both:
> 
> http://www.fashion-era.com/bustles.htm



oops, this is way to exagerated for me.  obviously I need to think this
out again.   Maybe a bustle isn't what I want after all.   I think I
just want the extra fullness in back, since I already HAVE fullness in
back, if you know what I mean.   I surely don't want to add MORE butt, I
want to make the butt I do have look like a fashion statement as it
were.   

Well, I would say it is back to the drawing board, but now I have some
pictures to work from.  thanks very much for all the sites.   Kitty

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Subject: Re: [h-cost]1890s corsets (was: CW stays/corsets)
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----- Original Message ----- 
From: <lisa58@juno.com>
> Thanks for the corset innfo.  I will be making the corset for the
> foundation of making the mid-1890'2 dress in the seepia print that
> I posted at www.oldwaylane.net/ukrainian/html
> I am looking to make a corset with a longer torso, to the hips, if
> possible.

You might want to make one of the corset patterns available here:
http://www.agelesspatterns.com
although most of these could be considered advanced, and not all are
multi-sized. Some good choices would be:
#1104M, #1061M (if you have narrow hips), #1062M, #1288, #1318M, and #1520
(probably closest to what she's wearing; spoon busks are available from:
http://www.farthingales.on.ca/busks.php )

If you don't have much experience working from these kinds of patterns, you
might find it helpful to order a corset pattern with good, modern
directions, and go by that for your actual construction, while using the
accurate pattern pieces for the pattern itself. Farthingales also sells an
instruction video on how to fit a Victorian corset, which you might find
useful:
http://www.farthingales.on.ca/patterns.php
I haven't seen it, but I've heard good reviews.

>From the shape seen in the photo, it looks like she's wearing a corset at
least 5-10 years out of date, if not more. However, she's obviously wearing
a whooole lot of petticoats, so it's a bit hard to tell for sure! Anyway,
you may want to keep this in mind when choosing a pattern.

[E's basic corsetmaking tips:
1. Baste, baste, baste! Especially when putting the main body pieces
together before you machine sew them. This makes a HUGE difference when it
comes to corsetmaking.
2. Grommets--the jagged edged metal eyelets are pretty much worthless, and
should never have been invented. Ahem.
3. Before sewing the bone casings, try it on. Put strips of masking tape on
the corset where the bone casings should go, and use that as a guide rather
than the pattern. Also, don't sew everything shut until you've tried it on
with the bones in place! Bone placement is hugely important, and a lot
easier to fix before you bind it.]

-E
(P.S.--I'm in the "I'm pretty sure those are pockets" camp.)


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Subject: Re: [h-cost] CW  middleclass
Date: Thu, 6 May 2004 23:03:23 -0400
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#904 is a polonaise from the 1880's it has a gathered over tunic that can be
really full at the back by adding a bustle pad or leaving it without and it
is floofy but not overdone. I've made this up several times (the current one
is in a bright red plaid) and it is a REALLY easy pattern. I also have the
full butt issue (pulling it off thanks to Curves now but still) and the
princess polonaise seems to be just the look.
http://swapking.com/hats/past_patterns_1890.htm
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> oops, this is way to exagerated for me.  obviously I need to think this
> out again.   Maybe a bustle isn't what I want after all.   I think I
> just want the extra fullness in back, since I already HAVE fullness in
> back, if you know what I mean.   I surely don't want to add MORE butt, I
> want to make the butt I do have look like a fashion statement as it
> were.
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From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: John Brown
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I assume you're not talking about the John Brown whose "body lies
a-mouldrin' in the grave." Can't think why he'd wear a kilt.

Gail Finke


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Subject: Re: [h-cost] Re: John Brown
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Queen Victoria's John Brown. Her highland servant who had a very high place
in Victoria's life. When he died she directed a statue to built. When SHE
died Edward ordered the statue pulled down. John Brown was far too big for
his britches for Edward's taste.
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----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Thursday, May 06, 2004 11:39 PM
Subject: [h-cost] Re: John Brown


>
> I assume you're not talking about the John Brown whose "body lies
> a-mouldrin' in the grave." Can't think why he'd wear a kilt.
>
> Gail Finke
>
>
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Oh and to amend. John Brown was hevily disliked by many Great British
peoples and the Queen was derided and hissed in public along with being
called"Mrs. Brown"
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----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Thursday, May 06, 2004 11:39 PM
Subject: [h-cost] Re: John Brown


>
> I assume you're not talking about the John Brown whose "body lies
> a-mouldrin' in the grave." Can't think why he'd wear a kilt.
>
> Gail Finke
>
>
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In a message dated 5/6/04 10:41:38 PM Central Daylight Time, 
gailscott@eos.net writes:
I assume you're not talking about the John Brown whose "body lies
a-mouldrin' in the grave." Can't think why he'd wear a kilt.

Gail Finke


LOL!  I think the reference was to the John Brown who was the personal 
servant to Queen Victoria.  A different fellow than the one who led the raid on 
Harper's Ferry.

-Tiffany
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Subject: [h-cost] Re: John Brown - drat that song.
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Now I'm going to have it STUCK IN MY HEAD for DAYS!!!!

::pulling hair out!!!::

-Tiffany
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Date: Thu, 06 May 2004 21:37:40 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: John Brown - drat that song.
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>Now I'm going to have it STUCK IN MY HEAD for DAYS!!!!
>
>::pulling hair out!!!::

Have you ever been to Disneyland (the one in California)?  There's a song
on one of the rides there which folks in California threaten each other
with when any other song gets stuck in their heads.  (Hint to Californians
- it's the ride with hundreds of singing costumed dolls in it).

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

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

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Subject: Re: [h-cost] Re: John Brown - drat that song.
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Would that possibly be "It's a Small World?"

*ever so innocent look*

Althea


On Thursday, May 6, 2004, at 09:37 PM, Carolyn Kayta Barrows wrote:

>> Now I'm going to have it STUCK IN MY HEAD for DAYS!!!!
>>
>> ::pulling hair out!!!::
>
> Have you ever been to Disneyland (the one in California)?  There's a 
> song
> on one of the rides there which folks in California threaten each other
> with when any other song gets stuck in their heads.  (Hint to 
> Californians
> - it's the ride with hundreds of singing costumed dolls in 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
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Public Relations Manager
Sauron/Voldemort 2004

Bush/Cheney - Bringing Bigotry back to the Constitution.

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I can only think of a couple of distinctly queen-needlework 
combinations.  Besides the ideas about the origins of the the Bayeaux 
Tapestries.
One would be Mary Stuart (there's actually a whole book out about her 
embroidery).  She did all kinds of different embroidery.....
The other would be Mary III? (of "William and Mary"), I *think.*  One of 
the late 17th c. British royals that's thought of in pairs, at any rate. 
  IIRC, she was known for doing some sort of lacework (not my time 
period, so I'm vague on the specifics, sorry).
Dunno about queens from non-English speaking countries.
--sue

Lloyd Mitchell wrote:

> Ah, Thankyou! My project is taking on a life of its own.  Just picked up 4
> more books from our stupendous annual Library sale, and found the pattern I
> wanted.
> I am now wondering the identification format for the pattern that is called
> "Queens" in "Fitting and Proper".  It plainly differs from the two or three
> names (like Algerian eye, Flat laid, and embellished daisy) that are
> garnered from the 8 or 10 volumes I have at hand.
> Also of interest, is the origin of 'Queens'. For those of you who do the
> decorative arts in periods before 1750, is there a particular Queen who did
> needlepoint embroiderie? (besides the Norman conquest canvases?


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And there's even a movie about it.  Kinda interesting.  Dame Judy Dench 
and Billy Connolly star in it, if I'm not mistaken....
--sue

Bice wrote:

> Oh and to amend. John Brown was hevily disliked by many Great British
> peoples and the Queen was derided and hissed in public along with being
> called"Mrs. Brown"
> =============================
> Tupperware Party!!
> http://snipurl.com/5yj4
> http://www.livejournal.com/users/jaie
> =============================
> ----- Original Message ----- 
> From: "Gail & Scott Finke" <gailscott@eos.net>
> To: <h-costume@indra.com>
> Sent: Thursday, May 06, 2004 11:39 PM
> Subject: [h-cost] Re: John Brown
> 
> 
> 
>>I assume you're not talking about the John Brown whose "body lies
>>a-mouldrin' in the grave." Can't think why he'd wear a kilt.
>>
>>Gail Finke


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Ahhhhh!!!!
--sue, stuck with "it's a small world after all....." going in an 
endless loop......

Carolyn Kayta Barrows wrote/quoted:

>>Now I'm going to have it STUCK IN MY HEAD for DAYS!!!!
>>
>>::pulling hair out!!!::
> 
> 
> Have you ever been to Disneyland (the one in California)?  There's a song
> on one of the rides there which folks in California threaten each other
> with when any other song gets stuck in their heads.  (Hint to Californians
> - it's the ride with hundreds of singing costumed dolls in it).


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From h-costume-bounces@indra.com  Fri May  7 01:16:57 2004
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Date: Fri, 07 May 2004 01:18:59 -0400
Subject: Re: [h-cost] Re: source for silk grosgrain ribbon?
From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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JKM carries Mokuba, and some other all-silk ribbons.
http://www.jkmribbon.com/
You have to register to view prices, but registration leads to nothing worse
than occasional e-mailed new product announcements.
Lauren

> From: Kathy Page <caitlin_oduibhir@yahoo.ca>

> 
> Claudine,
> Find a company that sells Mokuba Ribbon. They deal predominately in Silk or
> milk protein derivative ribbon products. It's impossible to tell the
> difference between the two by look and feel.
> 
> Kathy
> 
> 
> Subject: [h-cost] source for silk grosgrain ribbon?
> Does anyone have a source, online or catalogue, for
> silk grosgrain ribbon? Google searches aren't coming
> up with much. I'm looking for colors but white will
> do, in 7/8" or wider.
> 
> 
> 
> 
> ---------------------------------
> Post your free ad now! Yahoo! Canada Personals
> _______________________________________________
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> h-costume@mail.indra.com
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: John Brown - drat that song.
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>Ahhhhh!!!!
>--sue, stuck with "it's a small world after all....." going in an 
>endless loop......

Oh, then you have been to Disneyland.  Don't those dolls have some great
costumes?  Very 1960s, but worth the ride - once.  (In Southern CA one
hears horror stories of people being on that ride when the transportation
part breaks down but not the sound, and they get stuck for long periods of
time...) 

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

             //// \\\
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Subject: Re: [h-cost] Re: John Brown - drat that song.
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Been there, done that; it happens in Florida, too.  I don't care if it's
air-conditioned and you get to sit down and there's no line- that story
worked once, but I won't get fooled again.  Besides, I maxed out on it when
I was a kid and it was at the '64-65 NYC World's Fair (which explains the
'60's costumes on the dolls- obligatory costume content).  I used to cycle
over a couple of times a week, chain my bike to a fence, and with a quarter,
a milk carton coupon, and a nice old lady who'd swear we were her grandkids,
you could have the run of the place.
I've also been stuck for more than an hour in Splash Mountain in the end
chamber where all the animals from "Song of the South" sing
"Zip-a-dee-doo-dah" over and over and over and over and...
And then there's the "Prince Ali" song from Aladdin that was played before,
during, and after the parade; people waiting in bathroom lines hours later
were still singing the songs, and humming where they forgot the words.
Everything at Disneyworld has a soundtrack.  But I go back, anyway, thrill
ride junkie that I am.
                            -Helen/Aidan

----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 07, 2004 1:22 AM
Subject: Re: [h-cost] Re: John Brown - drat that song.


> >Ahhhhh!!!!
> >--sue, stuck with "it's a small world after all....." going in an
> >endless loop......
>
> Oh, then you have been to Disneyland.  Don't those dolls have some great
> costumes?  Very 1960s, but worth the ride - once.  (In Southern CA one
> hears horror stories of people being on that ride when the transportation
> part breaks down but not the sound, and they get stuck for long periods of
> time...)
>
>        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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The expatriate Scotsman is a frequent figure in fact and fiction over
the past 2 centuries (e.g.Donald Farfrae in "The Mayor of
Casterbridge"). If your mill with a Scottish boss is in Lancashire there
is no reason to think of the supporting characters as also being
Scottish.

Kate Bunting
Library, University of Derby
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On 01:35 07/05/2004 Sylvia said
>Who's John Brown?

Queen Victoria's gillie and friend.


Lynne Connolly, GSOLFOT
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On 21:55 06/05/2004 Sylvia said
>How far away is it?

Two counties away. A few hundred miles. Scotland is another country (sorry 
about that - couldn't resist!) It's a different lifestyle, a different 
experience. While it might be fairly straightforward to fly there from 
Liverpool Airport, it would take 3 hours or more to drive there. Depending 
on which bit you want to get to, of course!
Here's a more detailed map, so you get the idea.
http://www.multimap.co.uk
I live near Liverpool: we're about halfway between London and Edinburgh, 
roughly speaking.

Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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Subject: Re: [h-cost]1890s corsets (was: CW stays/corsets)
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Appreciate the comments, hints, and corset websites.  I wouldn't consider
myself a beginner, exactly; I have made several corsets from my 1860's
pattern, and a several Tudor style corsets.  But I wil try to get someone
to help me with the fitting aspects you describe.

I'm still tired from working last night til past 3 am, (it's only about
7:30 here, I had to get up to get my daughter to school), but I"ll check
the websites within a  few days.

Yours in costuming, Lisa A.

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I will be going to Burgos late next month, and I would like to be able 
to talk to a curator/get a private tour/whatever.  I know that some of 
you have done this at other museums.  Does anyone have a good letter of 
introduction and request that has helped to accomplish this?  Or any 
helpful hints?

Grace/Jessamyn 

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Subject: Re: [h-cost] Re: - drat that song.
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Even worse... now I have that song from Shrek in my
head.
"welcome to Dulac its a perfect place, here we have
some rules let us lay them down"


 --- Althea Turner <althea@alfalfapress.com> wrote: >
Would that possibly be "It's a Small World?"
> 
> *ever so innocent look*
> 
> Althea
> 
> 
> On Thursday, May 6, 2004, at 09:37 PM, Carolyn Kayta
> Barrows wrote:
> 
> >> Now I'm going to have it STUCK IN MY HEAD for
> DAYS!!!!
> >>
> >> ::pulling hair out!!!::
> >
> > Have you ever been to Disneyland (the one in
> California)?  There's a 
> > song
> > on one of the rides there which folks in
> California threaten each other
> > with when any other song gets stuck in their
> heads.  (Hint to 
> > Californians
> > - it's the ride with hundreds of singing costumed
> dolls in 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
> >
> >
> Althea Turner
> *** althea@alfalfapress.com
> *** http://www.alfalfapress.com
> 
> Public Relations Manager
> Sauron/Voldemort 2004
> 
> Bush/Cheney - Bringing Bigotry back to the
> Constitution.
> 
> _______________________________________________
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=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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thanks, did you use all those ruffles on your skirt?   seems kinda fussy
to me.  Kitty

Bice wrote:
> 
> #904 is a polonaise from the 1880's it has a gathered over tunic that can be
> really full at the back by adding a bustle pad or leaving it without and it
> is floofy but not overdone. I've made this up several times (the current one
> is in a bright red plaid) and it is a REALLY easy pattern. I also have the
> full butt issue (pulling it off thanks to Curves now but still) and the
> princess polonaise seems to be just the look.
> http://swapking.com/hats/past_patterns_1890.htm
> =============================
> Tupperware Party!!
> http://snipurl.com/5yj4
> http://www.livejournal.com/users/jaie
> =============================
> > oops, this is way to exagerated for me.  obviously I need to think this
> > out again.   Maybe a bustle isn't what I want after all.   I think I
> > just want the extra fullness in back, since I already HAVE fullness in
> > back, if you know what I mean.   I surely don't want to add MORE butt, I
> > want to make the butt I do have look like a fashion statement as it
> > were.
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From: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] kilts
To: Historical Costume <h-costume@indra.com>
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<chuckle> that's a matter of perspective. Its only a
Sunday drive for Texans. 


> I nearly choked when someone described Lancashire as
> being 'near Scotland.' 
> Take it from a resident. It isn't.<


But I agree that kilts were basically special occasion
wear by the late 19th century. 

=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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Subject: Re: [h-cost] Re: - drat that song.
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I like that one much better...



> Even worse... now I have that song from Shrek in my
> head.
> "welcome to Dulac its a perfect place, here we have
> some rules let us lay them down"
> 
> 
>  --- Althea Turner <althea@alfalfapress.com> wrote: >
> Would that possibly be "It's a Small World?"
> > 
> > *ever so innocent look*
> > 
> > Althea
> > 
> > 
> > On Thursday, May 6, 2004, at 09:37 PM, Carolyn Kayta
> > Barrows wrote:
> > 
> > >> Now I'm going to have it STUCK IN MY HEAD for
> > DAYS!!!!
> > >>
> > >> ::pulling hair out!!!::
> > >
> > > Have you ever been to Disneyland (the one in
> > California)?  There's a 
> > > song
> > > on one of the rides there which folks in
> > California threaten each other
> > > with when any other song gets stuck in their
> > heads.  (Hint to 
> > > Californians
> > > - it's the ride with hundreds of singing costumed
> > dolls in 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
> > >
> > >
> > Althea Turner
> > *** althea@alfalfapress.com
> > *** http://www.alfalfapress.com
> > 
> > Public Relations Manager
> > Sauron/Voldemort 2004
> > 
> > Bush/Cheney - Bringing Bigotry back to the
> > Constitution.
> > 
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume 
> 
> =====
> Catalina
> Aurum peccamenes multifariam texit
> 
> 
> 
> 
> 
> ____________________________________________________________
> Yahoo! Messenger - Communicate instantly..."Ping" 
> your friends today! Download Messenger Now 
> http://uk.messenger.yahoo.com/download/index.html
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> 
> 

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Date: Fri, 07 May 2004 08:04:42 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Queen's Stitch
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>I have a hankering to do the chatelaine pin cushion found in the back of 
>"Fitting and Proper". I have a nice old brass cafe curtain ring with eye 
>that I think will make a good collar. But I cannot seem to find directions 
>for Queen's stitch needlepoint.  Any one have a citation or can describe how 
>this stitch is done?

I stand corrected re. this stitch, and the other person got it right.  It's
in my book called Plain and Fancy, which has many examples of American
needlework from the mid-1700s to the early 1800s from the Wintherthur
museum.  From their illustration, I'm guessing the needle motions will be
the same as with Roumanian couching, but the square shape is what makes it
distinctive.

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

             //// \\\
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Date: Fri, 7 May 2004 09:09:17 -0600 (MDT)
Subject: Re: [h-cost] Re: John Brown - drat that song.
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>
> Have you ever been to Disneyland (the one in California)?  There's a song
> on one of the rides there which folks in California threaten each other
> with when any other song gets stuck in their heads.  (Hint to Californians
> - it's the ride with hundreds of singing costumed dolls in it).

Yes!!  Even worse than going on that ride is getting stuck in it, as I
did, for 45 minutes!  We were about to climb out of the boat and try to
find our way outside after being forced to listen to that song over and
over again without cease.  I think that was my last trip to Disneyland.

Sylrog
>
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Date: Fri, 7 May 2004 09:17:54 -0600 (MDT)
Subject: Re: [h-cost] kilts
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After rereading the play again, I agree.  Only the mill owner and his
family appear to be Scottish and none of them would be in kilts.  I wanted
to justify it because I thought it would be interesting to put at least on
of the characters in a kilt, specifically a man who is of the upper class
and who is a rather odd ball.  There's no reference as to where he is
from, so theoretically he could be Scottish, since Lancashire is close to
the Scottish border.  If someone is eccentric, I figure he could be
somewhat inappropriately dressed.


> The expatriate Scotsman is a frequent figure in fact and fiction over
> the past 2 centuries (e.g.Donald Farfrae in "The Mayor of
> Casterbridge"). If your mill with a Scottish boss is in Lancashire there
> is no reason to think of the supporting characters as also being
> Scottish.
>
> Kate Bunting
> Library, University of Derby
> _______________________________________________
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From: "Bice" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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	<409AF350.881123C5@floodcity.net><BAY1-DAV12Le3d4J95X00003945@hotmail.com>
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Subject: Re: [h-cost] CW  middleclass
Date: Fri, 7 May 2004 11:23:14 -0400
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Well I did for the two versions. It gave the skirts added oomph. I did do
one without but it didn't look the same at all. The polanise for this
version is very dollike in nature and a bit fussy. But if you do the tunic
in a bright shade or even a plaid like I did for the one and a plain white
or even black skirt it looks really great. It also looks incredible in a
lightweight velvet with no fuss just poufs and ruffles.
=============================
Tupperware Party!!
http://snipurl.com/5yj4
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 07, 2004 9:34 AM
Subject: Re: [h-cost] CW middleclass


> thanks, did you use all those ruffles on your skirt?   seems kinda fussy
> to me.  Kitty
>
> Bice wrote:
> >
> > #904 is a polonaise from the 1880's it has a gathered over tunic that
can be
> > really full at the back by adding a bustle pad or leaving it without and
it
> > is floofy but not overdone. I've made this up several times (the current
one
> > is in a bright red plaid) and it is a REALLY easy pattern. I also have
the
> > full butt issue (pulling it off thanks to Curves now but still) and the
> > princess polonaise seems to be just the look.
> > http://swapking.com/hats/past_patterns_1890.htm
> > =============================
> > Tupperware Party!!
> > http://snipurl.com/5yj4
> > http://www.livejournal.com/users/jaie
> > =============================
> > > oops, this is way to exagerated for me.  obviously I need to think
this
> > > out again.   Maybe a bustle isn't what I want after all.   I think I
> > > just want the extra fullness in back, since I already HAVE fullness in
> > > back, if you know what I mean.   I surely don't want to add MORE butt,
I
> > > want to make the butt I do have look like a fashion statement as it
> > > were.
> > _______________________________________________
> > 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
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>
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Date: Thu, 06 May 2004 16:23:47 +0100
To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] kilts
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On 16:08 06/05/2004 seamstrix@juno.com said
>Not only is Lancashire not the Highlands, it's not even in Scotland! It's 
>certainly in Northern England, but it's roughly parallel to Yorkshire. 
>Your folks would sound more Liverpuddlian than Highland....think 'All 
>Creatures Great and Small'.
>Karen
>
>-- sylvia@ntw.net wrote:
>Then play takes place in Lancashire.  Is that the highlands?>

I live in Lancashire. There are two counties between us and Scotland, and 
even more between us and the Highlands! "All Creatures Great and Small" is 
set in Yorkshire, not Lancashire. We are the county of the Beatles, of the 
great mills of the Industrial Revolution, of endeavour, of girls in white 
aprons and clogs, of Cottonopolis (Manchester), great black and white 
timbered buildings. Don't think of "All Creatures," or even "Last of the 
summer wine," think of the Beatles and Willy Russell, Rutherford and Mrs. 
Gaskell.
Dear me, you'll have red roses and white roses thrashing each other to 
death before you know it!
And if a man in a kilt ventures into our streets he can expect to be 
seriously molested!


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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From h-costume-bounces@indra.com  Fri May  7 16:28:42 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] seams in bodices
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Hi,
Can any of you explain to me why a boned bodice would have different seams than the outher material?
Would it not have ben easyer in construktion, if the same seams was used?
The wedding dress of Sophia Magdalena, 1766 did have a different cut for the heavily boned foundation, than the outher material. Not that i want to change this, but i thoaght it would be interresting to know why.
I have succeded in using this pattern for the boned foundation, and have only made very little alterations. One og the things i have changed is the boning wich was very narrow strips of whalebones, and i use 0,75 cm. wide bones.
When i have come further, i shall post you some pics!

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  Fri May  7 17:25:38 2004
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	<007101c4343f$0a4e3ca0$1d64a8c0@algx>
Subject: Re: [h-cost] Re: - drat that song.
Date: Fri, 7 May 2004 17:18:09 -0400
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----- Original Message ----- 
From: "Cyn Bucheger" <cbucheger@paclp.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 07, 2004 10:24 AM
Subject: Re: [h-cost] Re: - drat that song.


> I like that one much better...

I like the theme from Sponge Bob Square Pants...or, as my 2 y.o. calls him,
Pons Bob Wear Pants...

Dianne
>
>
>
> > Even worse... now I have that song from Shrek in my
> > head.
> > "welcome to Dulac its a perfect place, here we have
> > some rules let us lay them down"
> >

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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: Re: [h-cost] seams in bodices
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If the fabric was very thick, having staggered seams would eliminate bulk.  I often stagger the seams in the arm hole facings of sleeveless shifts especially if I am using linen for so there are not four layers of fabric where the seams join together.  A possibility. 

Lisa Sinervo
---------- Original Message ----------------------------------
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Fri, 7 May 2004 22:27:45 +0200

>Hi,
>Can any of you explain to me why a boned bodice would have different seams than the outher material?
>Would it not have ben easyer in construktion, if the same seams was used?
>The wedding dress of Sophia Magdalena, 1766 did have a different cut for the heavily boned foundation, than the outher material. Not that i want to change this, but i thoaght it would be interresting to know why.
>I have succeded in using this pattern for the boned foundation, and have only made very little alterations. One og the things i have changed is the boning wich was very narrow strips of whalebones, and i use 0,75 cm. wide bones.
>When i have come further, i shall post you some pics!
>
>Bjarne 
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
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Date: Fri, 07 May 2004 22:19:04 -0400
From: Kitty Felton <basyefelton@floodcity.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] CW  middleclass
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and this would be middle class and conservative?

Bice wrote:
> 
> Well I did for the two versions. It gave the skirts added oomph. I did do
> one without but it didn't look the same at all. The polanise for this
> version is very dollike in nature and a bit fussy. But if you do the tunic
> in a bright shade or even a plaid like I did for the one and a plain white
> or even black skirt it looks really great. It also looks incredible in a
> lightweight velvet with no fuss just poufs and ruffles.
> =============================
> Tupperware Party!!
> http://snipurl.com/5yj4
> http://www.livejournal.com/users/jaie
> =============================
> ----- Original Message -----
> From: "Kitty Felton" <basyefelton@floodcity.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, May 07, 2004 9:34 AM
> Subject: Re: [h-cost] CW middleclass
> 
> > thanks, did you use all those ruffles on your skirt?   seems kinda fussy
> > to me.  Kitty
> >
> > Bice wrote:
> > >
> > > #904 is a polonaise from the 1880's it has a gathered over tunic that
> can be
> > > really full at the back by adding a bustle pad or leaving it without and
> it
> > > is floofy but not overdone. I've made this up several times (the current
> one
> > > is in a bright red plaid) and it is a REALLY easy pattern. I also have
> the
> > > full butt issue (pulling it off thanks to Curves now but still) and the
> > > princess polonaise seems to be just the look.
> > > http://swapking.com/hats/past_patterns_1890.htm
> > > =============================
> > > Tupperware Party!!
> > > http://snipurl.com/5yj4
> > > http://www.livejournal.com/users/jaie
> > > =============================
> > > > oops, this is way to exagerated for me.  obviously I need to think
> this
> > > > out again.   Maybe a bustle isn't what I want after all.   I think I
> > > > just want the extra fullness in back, since I already HAVE fullness in
> > > > back, if you know what I mean.   I surely don't want to add MORE butt,
> I
> > > > want to make the butt I do have look like a fashion statement as it
> > > > were.
> > > _______________________________________________
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> >
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> >
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From h-costume-bounces@indra.com  Fri May  7 22:23:45 2004
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Subject: Re: [h-cost] Re: source for silk grosgrain ribbon?
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Thank you, Kathy and Lauren, for the tips, but I haven't found quite 
what I'm looking for. I just want a simple grosgrain ribbon for facing a 
hem. I might settle for some rayon petersham (is petersham pretty stiff? 
I've never handled it before) or just bite my tongue and get some poly 
stuff from Jo-Ann.



Claudine

Lauren Walker wrote:

> JKM carries Mokuba, and some other all-silk ribbons.
> http://www.jkmribbon.com/
> You have to register to view prices, but registration leads to nothing worse
> than occasional e-mailed new product announcements.
> Lauren
> 
> 
>>From: Kathy Page <caitlin_oduibhir@yahoo.ca>
> 
> 
>>Claudine,
>>Find a company that sells Mokuba Ribbon. They deal predominately in Silk or
>>milk protein derivative ribbon products. It's impossible to tell the
>>difference between the two by look and feel.
>>
>>Kathy
>>
>>
>>Subject: [h-cost] source for silk grosgrain ribbon?
>>Does anyone have a source, online or catalogue, for
>>silk grosgrain ribbon? Google searches aren't coming
>>up with much. I'm looking for colors but white will
>>do, in 7/8" or wider.
>>
>>
>>
>>
>>---------------------------------
>>Post your free ad now! Yahoo! Canada Personals
>>_______________________________________________
>>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 May  8 08:43:16 2004
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Subject: Re: [h-cost] Re: source for silk grosgrain ribbon?
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I was looking at my latest catalogue from Homesew.com yesterday and noted
that their grosgrain is rayon and cotton! I think I remember that they have
two widths and a small selection of colors.  I buy notions and trims from
them all the time and the quality and price sure beats Joann's.
Kathleen
----- Original Message ----- 
From: "Claudine" <claudine_on_the_net@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 07, 2004 10:22 PM
Subject: Re: [h-cost] Re: source for silk grosgrain ribbon?


> Thank you, Kathy and Lauren, for the tips, but I haven't found quite
> what I'm looking for. I just want a simple grosgrain ribbon for facing a
> hem. I might settle for some rayon petersham (is petersham pretty stiff?
> I've never handled it before) or just bite my tongue and get some poly
> stuff from Jo-Ann.
>
>
>
> Claudine
>
> Lauren Walker wrote:
>
> > JKM carries Mokuba, and some other all-silk ribbons.
> > http://www.jkmribbon.com/
> > You have to register to view prices, but registration leads to nothing
worse
> > than occasional e-mailed new product announcements.
> > Lauren
> >
> >
> >>From: Kathy Page <caitlin_oduibhir@yahoo.ca>
> >
> >
> >>Claudine,
> >>Find a company that sells Mokuba Ribbon. They deal predominately in Silk
or
> >>milk protein derivative ribbon products. It's impossible to tell the
> >>difference between the two by look and feel.
> >>
> >>Kathy
> >>
> >>
> >>Subject: [h-cost] source for silk grosgrain ribbon?
> >>Does anyone have a source, online or catalogue, for
> >>silk grosgrain ribbon? Google searches aren't coming
> >>up with much. I'm looking for colors but white will
> >>do, in 7/8" or wider.
> >>
> >>
> >>
> >>
> >>---------------------------------
> >>Post your free ad now! Yahoo! Canada Personals
> >>_______________________________________________
> >>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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>

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Subject: Re: [h-cost] Re: source for silk grosgrain ribbon?
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And re petersham, yes it is stiff,  I have not seen it used for hems, but
rather as concealed waist bands.
Kathleen
----- Original Message ----- 
From: "Claudine" <claudine_on_the_net@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 07, 2004 10:22 PM
Subject: Re: [h-cost] Re: source for silk grosgrain ribbon?


> Thank you, Kathy and Lauren, for the tips, but I haven't found quite
> what I'm looking for. I just want a simple grosgrain ribbon for facing a
> hem. I might settle for some rayon petersham (is petersham pretty stiff?
> I've never handled it before) or just bite my tongue and get some poly
> stuff from Jo-Ann.
>
>
>
> Claudine
>
> Lauren Walker wrote:
>
> > JKM carries Mokuba, and some other all-silk ribbons.
> > http://www.jkmribbon.com/
> > You have to register to view prices, but registration leads to nothing
worse
> > than occasional e-mailed new product announcements.
> > Lauren
> >
> >
> >>From: Kathy Page <caitlin_oduibhir@yahoo.ca>
> >
> >
> >>Claudine,
> >>Find a company that sells Mokuba Ribbon. They deal predominately in Silk
or
> >>milk protein derivative ribbon products. It's impossible to tell the
> >>difference between the two by look and feel.
> >>
> >>Kathy
> >>
> >>
> >>Subject: [h-cost] source for silk grosgrain ribbon?
> >>Does anyone have a source, online or catalogue, for
> >>silk grosgrain ribbon? Google searches aren't coming
> >>up with much. I'm looking for colors but white will
> >>do, in 7/8" or wider.
> >>
> >>
> >>
> >>
> >>---------------------------------
> >>Post your free ad now! Yahoo! Canada Personals
> >>_______________________________________________
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <4.1.20040507075903.01d451d0@mail.frys.com>
Subject: Re: [h-cost] Queen's Stitch
Date: Sat, 8 May 2004 09:00:05 -0400
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Status: RO

Two of the books I picked up at the library sale gave Queen stitch as was
otherwise represented; the one you gave me is one of the variations of
Algerian Eye stitch,(of which they show four variations, including the
diamond shape and a fanshape). The pincushion in question is of the 18th C
and definitely has the 'eye'. I must look for a copy of "Plain and Fancy"
Kathleen
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 07, 2004 11:04 AM
Subject: Re: [h-cost] Queen's Stitch


> >I have a hankering to do the chatelaine pin cushion found in the back of
> >"Fitting and Proper". I have a nice old brass cafe curtain ring with eye
> >that I think will make a good collar. But I cannot seem to find
directions
> >for Queen's stitch needlepoint.  Any one have a citation or can describe
how
> >this stitch is done?
>
> I stand corrected re. this stitch, and the other person got it right.
It's
> in my book called Plain and Fancy, which has many examples of American
> needlework from the mid-1700s to the early 1800s from the Wintherthur
> museum.  From their illustration, I'm guessing the needle motions will be
> the same as with Roumanian couching, but the square shape is what makes it
> distinctive.
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
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>
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <15d.3445e150.2dcb1971@aol.com><409AF350.881123C5@floodcity.net><BAY1-DAV12Le3d4J95X00003945@hotmail.com><409B904F.F0AC3F43@floodcity.net><BAY1-DAV17HM3SOlbpH000049d7@hotmail.com>
	<409C4398.A7EF1F7D@floodcity.net>
Subject: Re: [h-cost] CW  middleclass
Date: Sat, 8 May 2004 09:21:22 -0400
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Kitty, have you thought about just where in the middleclass you might have
been? In the industrial society there was a whole muddle of variation in
fashion. For one's good dress, one would choose the best fabric quality for
one's means. The dress was to last for some time and would be remade to keep
up with basic styling as needed. The conservative factor would affect the
fit, the neckline, choice of trim, show of lace (and quality here, again).
Kathleen
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 07, 2004 10:19 PM
Subject: Re: [h-cost] CW middleclass


> and this would be middle class and conservative?
>
> Bice wrote:
> >
> > Well I did for the two versions. It gave the skirts added oomph. I did
do
> > one without but it didn't look the same at all. The polanise for this
> > version is very dollike in nature and a bit fussy. But if you do the
tunic
> > in a bright shade or even a plaid like I did for the one and a plain
white
> > or even black skirt it looks really great. It also looks incredible in a
> > lightweight velvet with no fuss just poufs and ruffles.
> > =============================
> > Tupperware Party!!
> > http://snipurl.com/5yj4
> > http://www.livejournal.com/users/jaie
> > =============================
> > ----- Original Message -----
> > From: "Kitty Felton" <basyefelton@floodcity.net>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Friday, May 07, 2004 9:34 AM
> > Subject: Re: [h-cost] CW middleclass
> >
> > > thanks, did you use all those ruffles on your skirt?   seems kinda
fussy
> > > to me.  Kitty
> > >
> > > Bice wrote:
> > > >
> > > > #904 is a polonaise from the 1880's it has a gathered over tunic
that
> > can be
> > > > really full at the back by adding a bustle pad or leaving it without
and
> > it
> > > > is floofy but not overdone. I've made this up several times (the
current
> > one
> > > > is in a bright red plaid) and it is a REALLY easy pattern. I also
have
> > the
> > > > full butt issue (pulling it off thanks to Curves now but still) and
the
> > > > princess polonaise seems to be just the look.
> > > > http://swapking.com/hats/past_patterns_1890.htm
> > > > =============================
> > > > Tupperware Party!!
> > > > http://snipurl.com/5yj4
> > > > http://www.livejournal.com/users/jaie
> > > > =============================
> > > > > oops, this is way to exagerated for me.  obviously I need to think
> > this
> > > > > out again.   Maybe a bustle isn't what I want after all.   I think
I
> > > > > just want the extra fullness in back, since I already HAVE
fullness in
> > > > > back, if you know what I mean.   I surely don't want to add MORE
butt,
> > I
> > > > > want to make the butt I do have look like a fashion statement as
it
> > > > > were.
> > > > _______________________________________________
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> > >
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> > >
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>
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Date: Sat, 08 May 2004 07:05:36 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Queen's Stitch
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Status: RO

The pincushion in question is of the 18th C
>and definitely has the 'eye'.

In Plain and Fancy it says the 'eye' is formed after you get all those
stitches into one hole.

I must look for a copy of "Plain and Fancy"

I got my on www.abebooks.com . 

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

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <4.1.20040507075903.01d451d0@mail.frys.com>
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Subject: Re: [h-cost] Queen's Stitch
Date: Sat, 8 May 2004 10:28:53 -0400
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I understand that. Among needlepoint stitches, there are other 'daisy'
designs that do not have the 'eye'. Thanks for the book resource.
Kathleen
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 08, 2004 10:05 AM
Subject: Re: [h-cost] Queen's Stitch


> The pincushion in question is of the 18th C
> >and definitely has the 'eye'.
>
> In Plain and Fancy it says the 'eye' is formed after you get all those
> stitches into one hole.
>
> I must look for a copy of "Plain and Fancy"
>
> I got my on www.abebooks.com .
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
>           /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <4.1.20040507075903.01d451d0@mail.frys.com>
	<4.1.20040508070337.01810e20@mail.frys.com>
Subject: Re: [h-cost] Queen's Stitch
Date: Sat, 8 May 2004 10:48:51 -0400
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Kayta, which "Plain and Fancy" do you have? I just started to scan
abebooks.com and have 29 pages+ to choose from.  I have the Dover edition of
Caulfield and Saward (Victorian Encyclopedia of needlework). Did they do one
for the 18th C?  Another dictionary of Needlepoint stitches available is by
Ann E Pestor.
Kathleen
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 08, 2004 10:05 AM
Subject: Re: [h-cost] Queen's Stitch


> The pincushion in question is of the 18th C
> >and definitely has the 'eye'.
>
> In Plain and Fancy it says the 'eye' is formed after you get all those
> stitches into one hole.
>
> I must look for a copy of "Plain and Fancy"
>
> I got my on www.abebooks.com .
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Queen's Stitch
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>Kayta, which "Plain and Fancy" do you have?

"Plain & Fancy
American Women and Their Needlework, 1700-1850
Susan Burrows Swan
Illustrated with the special needlework collection from the Wintherthur Museum"
ISBN 0-03-015121-X

This has needlework tools and other stuff as well as historical examples of
the various kinds of needlework.  I liked it for the close-ups and color
plates, and for the illustrated glossary in the back.

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

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Subject: Re: [h-cost] CW  middleclass
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no, I didn't think about that at all.   wow, more to consider.   I'll
put more thought into it.   

I think I am going to send for the catalogs someone listed on this
thread last week.   then I can study them on paper and see what I'm
looking at a little better.      Patterns of time, etc.   I had the
Amazon Pickleworks catalog once a long time ago.   they sort of overlap
don't they?   

Anyway, I certainly enjoy all the input, it has helped me clarify the
picture in my mind quite a bit.   thanks, Kitty

Lloyd Mitchell wrote:
> 
> Kitty, have you thought about just where in the middleclass you might have
> been? In the industrial society there was a whole muddle of variation in
> fashion. For one's good dress, one would choose the best fabric quality for
> one's means. The dress was to last for some time and would be remade to keep
> up with basic styling as needed. The conservative factor would affect the
> fit, the neckline, choice of trim, show of lace (and quality here, again).
> Kathleen
> ----- Original Message -----
> From: "Kitty Felton" <basyefelton@floodcity.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, May 07, 2004 10:19 PM
> Subject: Re: [h-cost] CW middleclass
> 
> > and this would be middle class and conservative?
> >
> > Bice wrote:
> > >
> > > Well I did for the two versions. It gave the skirts added oomph. I did
> do
> > > one without but it didn't look the same at all. The polanise for this
> > > version is very dollike in nature and a bit fussy. But if you do the
> tunic
> > > in a bright shade or even a plaid like I did for the one and a plain
> white
> > > or even black skirt it looks really great. It also looks incredible in a
> > > lightweight velvet with no fuss just poufs and ruffles.
> > > =============================
> > > Tupperware Party!!
> > > http://snipurl.com/5yj4
> > > http://www.livejournal.com/users/jaie
> > > =============================
> > > ----- Original Message -----
> > > From: "Kitty Felton" <basyefelton@floodcity.net>
> > > To: "Historical Costume" <h-costume@indra.com>
> > > Sent: Friday, May 07, 2004 9:34 AM
> > > Subject: Re: [h-cost] CW middleclass
> > >
> > > > thanks, did you use all those ruffles on your skirt?   seems kinda
> fussy
> > > > to me.  Kitty
> > > >
> > > > Bice wrote:
> > > > >
> > > > > #904 is a polonaise from the 1880's it has a gathered over tunic
> that
> > > can be
> > > > > really full at the back by adding a bustle pad or leaving it without
> and
> > > it
> > > > > is floofy but not overdone. I've made this up several times (the
> current
> > > one
> > > > > is in a bright red plaid) and it is a REALLY easy pattern. I also
> have
> > > the
> > > > > full butt issue (pulling it off thanks to Curves now but still) and
> the
> > > > > princess polonaise seems to be just the look.
> > > > > http://swapking.com/hats/past_patterns_1890.htm
> > > > > =============================
> > > > > Tupperware Party!!
> > > > > http://snipurl.com/5yj4
> > > > > http://www.livejournal.com/users/jaie
> > > > > =============================
> > > > > > oops, this is way to exagerated for me.  obviously I need to think
> > > this
> > > > > > out again.   Maybe a bustle isn't what I want after all.   I think
> I
> > > > > > just want the extra fullness in back, since I already HAVE
> fullness in
> > > > > > back, if you know what I mean.   I surely don't want to add MORE
> butt,
> > > I
> > > > > > want to make the butt I do have look like a fashion statement as
> it
> > > > > > were.
> > > > > _______________________________________________
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> > > > > h-costume@mail.indra.com
> > > > > http://mail.indra.com/mailman/listinfo/h-costume
> > > >
> > > > _______________________________________________
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> > > > h-costume@mail.indra.com
> > > > http://mail.indra.com/mailman/listinfo/h-costume
> > > >
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> >
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> 
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Subject: Re: [h-cost] seams in bodices
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Dear Lisa,
Yes this is obviously the reason. I didnt even consider that. But i think
you are right.
Thanks for enlightening me..........

Bjarne


----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 07, 2004 11:42 PM
Subject: Re: [h-cost] seams in bodices


> If the fabric was very thick, having staggered seams would eliminate bulk.
I often stagger the seams in the arm hole facings of sleeveless shifts
especially if I am using linen for so there are not four layers of fabric
where the seams join together.  A possibility.
>
> Lisa Sinervo
> ---------- Original Message ----------------------------------
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date:  Fri, 7 May 2004 22:27:45 +0200
>
> >Hi,
> >Can any of you explain to me why a boned bodice would have different
seams than the outher material?
> >Would it not have ben easyer in construktion, if the same seams was used?
> >The wedding dress of Sophia Magdalena, 1766 did have a different cut for
the heavily boned foundation, than the outher material. Not that i want to
change this, but i thoaght it would be interresting to know why.
> >I have succeded in using this pattern for the boned foundation, and have
only made very little alterations. One og the things i have changed is the
boning wich was very narrow strips of whalebones, and i use 0,75 cm. wide
bones.
> >When i have come further, i shall post you some pics!
> >
> >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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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] period glasses
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Hi.
I just realised i needed some glasses for my 18th century outfit. When i am going to demonstrate embroidery at the 1700 marketplace at the mannorhouse of Gammel Estrup.
I baught Jas Townsends glasses and some nice knee buckles and a nice reproduktion pocket watch...........
Have any of you had your optician put glasses in your period glasses? Is this expensive? I need to get some reading glasses in them, so that i can se my embroidery :-)
Well it is rather expensive to get fully equiped isnt it?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <4.1.20040507075903.01d451d0@mail.frys.com><4.1.20040508070337.01810e20@mail.frys.com>
	<4.1.20040508081549.02076980@mail.frys.com>
Subject: Re: [h-cost] Queen's Stitch
Date: Sat, 8 May 2004 15:38:06 -0400
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And thanks again!  My copy is on the way.Wheeeee
Kathleen
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 08, 2004 11:31 AM
Subject: Re: [h-cost] Queen's Stitch


> >Kayta, which "Plain and Fancy" do you have?
>
> "Plain & Fancy
> American Women and Their Needlework, 1700-1850
> Susan Burrows Swan
> Illustrated with the special needlework collection from the Wintherthur
Museum"
> ISBN 0-03-015121-X
>
> This has needlework tools and other stuff as well as historical examples
of
> the various kinds of needlework.  I liked it for the close-ups and color
> plates, and for the illustrated glossary in the back.
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
>           /----\   /---\))
>
> _______________________________________________
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Subject: Re: [h-cost] CW  middleclass
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They (Amazon Pickleworks) do, but I stopped dealing with them a couple of
years ago when they were reorganizing and had problems with orders and
delivery. I have just ordered from Patterns of Time and look will have the
patterns hopefully by next weekend.
Kathleen
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 08, 2004 11:35 AM
Subject: Re: [h-cost] CW middleclass


> no, I didn't think about that at all.   wow, more to consider.   I'll
> put more thought into it.
>
> I think I am going to send for the catalogs someone listed on this
> thread last week.   then I can study them on paper and see what I'm
> looking at a little better.      Patterns of time, etc.   I had the
> Amazon Pickleworks catalog once a long time ago.   they sort of overlap
> don't they?
>
> Anyway, I certainly enjoy all the input, it has helped me clarify the
> picture in my mind quite a bit.   thanks, Kitty
>
> Lloyd Mitchell wrote:
> >
> > Kitty, have you thought about just where in the middleclass you might
have
> > been? In the industrial society there was a whole muddle of variation in
> > fashion. For one's good dress, one would choose the best fabric quality
for
> > one's means. The dress was to last for some time and would be remade to
keep
> > up with basic styling as needed. The conservative factor would affect
the
> > fit, the neckline, choice of trim, show of lace (and quality here,
again).
> > Kathleen
> > ----- Original Message -----
> > From: "Kitty Felton" <basyefelton@floodcity.net>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Friday, May 07, 2004 10:19 PM
> > Subject: Re: [h-cost] CW middleclass
> >
> > > and this would be middle class and conservative?
> > >
> > > Bice wrote:
> > > >
> > > > Well I did for the two versions. It gave the skirts added oomph. I
did
> > do
> > > > one without but it didn't look the same at all. The polanise for
this
> > > > version is very dollike in nature and a bit fussy. But if you do the
> > tunic
> > > > in a bright shade or even a plaid like I did for the one and a plain
> > white
> > > > or even black skirt it looks really great. It also looks incredible
in a
> > > > lightweight velvet with no fuss just poufs and ruffles.
> > > > =============================
> > > > Tupperware Party!!
> > > > http://snipurl.com/5yj4
> > > > http://www.livejournal.com/users/jaie
> > > > =============================
> > > > ----- Original Message -----
> > > > From: "Kitty Felton" <basyefelton@floodcity.net>
> > > > To: "Historical Costume" <h-costume@indra.com>
> > > > Sent: Friday, May 07, 2004 9:34 AM
> > > > Subject: Re: [h-cost] CW middleclass
> > > >
> > > > > thanks, did you use all those ruffles on your skirt?   seems kinda
> > fussy
> > > > > to me.  Kitty
> > > > >
> > > > > Bice wrote:
> > > > > >
> > > > > > #904 is a polonaise from the 1880's it has a gathered over tunic
> > that
> > > > can be
> > > > > > really full at the back by adding a bustle pad or leaving it
without
> > and
> > > > it
> > > > > > is floofy but not overdone. I've made this up several times (the
> > current
> > > > one
> > > > > > is in a bright red plaid) and it is a REALLY easy pattern. I
also
> > have
> > > > the
> > > > > > full butt issue (pulling it off thanks to Curves now but still)
and
> > the
> > > > > > princess polonaise seems to be just the look.
> > > > > > http://swapking.com/hats/past_patterns_1890.htm
> > > > > > =============================
> > > > > > Tupperware Party!!
> > > > > > http://snipurl.com/5yj4
> > > > > > http://www.livejournal.com/users/jaie
> > > > > > =============================
> > > > > > > oops, this is way to exagerated for me.  obviously I need to
think
> > > > this
> > > > > > > out again.   Maybe a bustle isn't what I want after all.   I
think
> > I
> > > > > > > just want the extra fullness in back, since I already HAVE
> > fullness in
> > > > > > > back, if you know what I mean.   I surely don't want to add
MORE
> > butt,
> > > > I
> > > > > > > want to make the butt I do have look like a fashion statement
as
> > it
> > > > > > > were.
> > > > > > _______________________________________________
> > > > > > h-costume mailing list
> > > > > > h-costume@mail.indra.com
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> > > > >
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> > > > > h-costume mailing list
> > > > > h-costume@mail.indra.com
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> > > > >
> > > > _______________________________________________
> > > > h-costume mailing list
> > > > h-costume@mail.indra.com
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> > >
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> > > h-costume@mail.indra.com
> > > http://mail.indra.com/mailman/listinfo/h-costume
> > >
> >
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>
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] period glasses
Date: Sat, 8 May 2004 12:38:12 -0700
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Wow, I haven't visited that site in awhile....what cool stuff!  Sounds to me
like the glasses are easily converted...can't be that expensive for reading
glasses.

Sg

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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] period glasses
Date: Sat, 8 May 2004 15:50:11 -0400
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Yes I have, and as I wear trifocals, they are expensive!  I did get just my
reading lens in another pair and that was reasonably affordable. And I am
learning to keep them with the kit so they can be found when I need them!
Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Saturday, May 08, 2004 3:02 PM
Subject: [h-cost] period glasses


Hi.
I just realised i needed some glasses for my 18th century outfit. When i am
going to demonstrate embroidery at the 1700 marketplace at the mannorhouse
of Gammel Estrup.
I baught Jas Townsends glasses and some nice knee buckles and a nice
reproduktion pocket watch...........
Have any of you had your optician put glasses in your period glasses? Is
this expensive? I need to get some reading glasses in them, so that i can se
my embroidery :-)
Well it is rather expensive to get fully equiped isnt it?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From h-costume-bounces@indra.com  Sat May  8 15:52:30 2004
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Bjarne og Leif Drews wrote:

>Hi.
>I just realised i needed some glasses for my 18th century outfit. When i am going to demonstrate embroidery at the 1700 marketplace at the mannorhouse of Gammel Estrup.
>I baught Jas Townsends glasses and some nice knee buckles and a nice reproduktion pocket watch...........
>Have any of you had your optician put glasses in your period glasses? Is this expensive? I need to get some reading glasses in them, so that i can se my embroidery :-)
>Well it is rather expensive to get fully equiped isnt it?
>
>Bjarne
>
>  
>
Bjarne,
My optician put my perscription in an old pair of pinc-nez - those 
little glasses that just perch on your nose. No problems. The only cost 
was the usual one for the lenses themselves.

liz young

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From h-costume-bounces@indra.com  Sat May  8 15:55:31 2004
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From: "paul Cooper"<deforce@pcez.com>
To: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>, <h-costume@indra.com>
Date: Sat, 8 May 2004 19:54:50 GMT
Subject: Re: [h-cost] period glasses
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One of the local jewlers here in the Pacific Northwest has used coin holders
to make verry period looking glasses.  For the lenses he used the cheep ones
you can get at the local store as long a the lenses are not glass they can be
easly cut with a jewlers or other fine saw.  The trick is to put the original
frames on your face and mark the the point at which your puples center them
selves on the lenses.  use this as your center point for the cutting (make sure
you use a marker that isnt perminant.  Once cut you cut out the lenses you can
then mount them in the loups of the coin holders.  You then rivit the holders
together.  You can attach ear pieces if you are adept at soldering (do this
before mounting lenses.)  This will work in most cases also if you have a pair
of old lenses you could use them provided they are not to far out of spec for
your eyes and not glass.  To have new lenses cut and mounted in a purchasesed
set of frames runs about $50-75 US that is for a simple perscription no bifocals
or extreem perscriptions.  That should include mounting and cutting of new lenses
to your perscription. Don't forget contacts could be an easy answer to this
problem.

-------------------
http://www.pcez.com
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I'm lucky, I guess.  I don't have to *wear* period glasses.  Since the
group I'm in lets "medically necessary" things slide (i.e., we're not as
strict with some of this stuff as other groups need to be), I could wear
my glasses if I wanted to.  What I normally do, though, is just go
without--makes things beyond my arm's reach slightly-to-very fuzzy, but
doesn't interfere with my embroidery at all.  I actually need to be
glasses-free for my best (close-up) vision for the miniscule, finicky
monochrome embroidery I'm usually engaged in (nothing like the colorful,
exotic lovely stuff Bjarne's doing).  If I were engaged in activities 
that required better distance vision (any sort of armored combat, for 
instance, or archery), I'd have to come up with something else.
--sue, who loves her bifocals for just about everything else, though 
(especially working on a computer! ;o)
p.s. And yeah, it *is* expensive to get fully equipped!  The devil's in 
the details, no? I'm either going to have to learn to make my own 
##$@$!! shoes, or get used to paying a LOT of money for them!

Bjarne og Leif Drews wrote:
> Hi. I just realised i needed some glasses for my 18th century outfit.
> When i am going to demonstrate embroidery at the 1700 marketplace at
> the mannorhouse of Gammel Estrup. I baught Jas Townsends glasses and
> some nice knee buckles and a nice reproduktion pocket
> watch........... Have any of you had your optician put glasses in
> your period glasses? Is this expensive? I need to get some reading
> glasses in them, so that i can se my embroidery :-) Well it is rather
> expensive to get fully equiped isnt it?
> 
> Bjarne

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In a message dated 5/8/2004 8:42:29 AM Eastern Standard Time, 
rmitchell@washjeff.edu writes:
Homesew.com 
I deal with them, too--order my cotton twill tape 50 yds at a time so I don't 
have to run to G Street Fabrics when I just need a yard or two.  I'm not a 
purist about many things, but polyester twill tape looks SO artificial--not at 
all like cotton.

Ann Wass
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From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] period glasses
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At 09:02 PM 5/8/2004 +0200, you wrote:
>Hi.
>I just realised i needed some glasses for my 18th century outfit. When i 
>am going to demonstrate embroidery at the 1700 marketplace at the 
>mannorhouse of Gammel Estrup.
>I baught Jas Townsends glasses and some nice knee buckles and a nice 
>reproduktion pocket watch...........
>Have any of you had your optician put glasses in your period glasses? Is 
>this expensive? I need to get some reading glasses in them, so that i can 
>se my embroidery :-)
>Well it is rather expensive to get fully equiped isnt it?
>
>Bjarne

Bjarne,
I had my optician put my prescription in a similar set of frames.  It was 
not expensive since I did not try to have my bifocals installed <g>.  I 
expect that you will have no trouble with this.

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Subject: Re: [h-cost] seams in bodices
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of course it could be that they were short of fabric and had to piece
together the lining or some other compensation for an array of mistakes that
we have all made during  garment in construction.  Who knows?

Lisa
----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 08, 2004 11:33 AM
Subject: Re: [h-cost] seams in bodices


> Dear Lisa,
> Yes this is obviously the reason. I didnt even consider that. But i think
> you are right.
> Thanks for enlightening me..........
>
> Bjarne
>
>
> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, May 07, 2004 11:42 PM
> Subject: Re: [h-cost] seams in bodices
>
>
> > If the fabric was very thick, having staggered seams would eliminate
bulk.
> I often stagger the seams in the arm hole facings of sleeveless shifts
> especially if I am using linen for so there are not four layers of fabric
> where the seams join together.  A possibility.
> >
> > Lisa Sinervo
> > ---------- Original Message ----------------------------------
> > From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> > Reply-To: Historical Costume <h-costume@indra.com>
> > Date:  Fri, 7 May 2004 22:27:45 +0200
> >
> > >Hi,
> > >Can any of you explain to me why a boned bodice would have different
> seams than the outher material?
> > >Would it not have ben easyer in construktion, if the same seams was
used?
> > >The wedding dress of Sophia Magdalena, 1766 did have a different cut
for
> the heavily boned foundation, than the outher material. Not that i want to
> change this, but i thoaght it would be interresting to know why.
> > >I have succeded in using this pattern for the boned foundation, and
have
> only made very little alterations. One og the things i have changed is the
> boning wich was very narrow strips of whalebones, and i use 0,75 cm. wide
> bones.
> > >When i have come further, i shall post you some pics!
> > >
> > >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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> >
>
>
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Hi,
Just a little sigh from a buisy man. This boned bodice foundation has really taken me time to make. I started friday morning (danish holliday called store bededag) wich means big prayer day. I blew up the bodice cut from Janet Arnolds patter of the weddingdress of Sophia Magdalena. Had to make it quite large to fit the size 38 i make it in. And had to alter the neckline wich got much two big. It worked well. Interresting to se that the ridgid shoulder posture is even more narrow in the back in this official dress. 
The bodice is construkted of 12 pieces, and i had to make doubble because of the boning. And basting marking 24 pieces wery precisely takes a lot of time.................
Then i had to sew down all the seams because they usually gets in the way for the boning. And i finally started to make the bone casings this afternoon. I have made the front now and it is 9 o clock in the evening so i dont want to sew more today. My boning is only 0,75 cm. wide so there is going to be a lot of boning in it. It is boned all the way troughout the bodice. I fear for the tabs when i am going to mount the silk bodice to the foundation. It says that the tabs was lined with a silk ribbon 1/8 inch wide, folded and sewed. You know how much i hate this.......... Aicks
The tabs seams to the bodice is hided with a 1/16 wide silver cord. Wonder if i could make a piping as substitute for this?   
Anyway i found a wonderfull taffeta in the right colour last thursday. So it is all well.
Usually (dont know if you have it like that?) i cant stop sewing when i make the bone casings, and only stops when i have finished so that i can rush the bones into the casings and see the result.
But i must take it easy, because i really want to do it propperly.
Wont make any pictures until the foundation is ready.

Bjarne 
  





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


Hi.
I just realised i needed some glasses for my 18th century outfit. When i am going to demonstrate embroidery at the 1700 marketplace at the mannorhouse of Gammel Estrup.
I baught Jas Townsends glasses and some nice knee buckles and a nice reproduktion pocket watch...........
Have any of you had your optician put glasses in your period glasses? Is this expensive? I need to get some reading glasses in them, so that i can se my embroidery :-)
Well it is rather expensive to get fully equiped isnt it?


Hi Bjarne--

In answer to your questions, both my husband and I have had our prescriptions put in period frames by our opticians for many years, and every single one has treated it the same as putting lenses in any other set of frames supplied by the patient. The only trouble we ever ran into was when my husband broke his original 19th century frames, and there wasn't anybody in Northern California that could work on them (they were just too delicate). Right now we're particularly lucky: our optician has about a dozen reenactors that all go to her for their eyeglasses and contacts, and she keeps an eye open for period frames for us.

Yes, it IS expensive, but it could be worse--you could also be equipping a horse!

Dawn



Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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I'm not good on dates, but it seems to me I remember reading that at
some point the kilt and the plaid were outlawed to try to depress the
clan mentality since the scots were so warlike.   in the same way the
gaelic language and the clan names were outlawed.  in Ireland, same
deal, the people were required to change their clan names to names of
either a color, an occupation or something else.   I imagine someone
else has more info on this, but the plaid wasn't really fantasy fashion,
it was very personal.  it identified a clan just as a standard
identified the british families in battle.  Scotsmen, and the
descendants of scotsmen still prize their plaid, and some study the
different plaids to identify who has the "right" to wear them.   some of
our favorite plaids are actually clan plaids.  the popular navy and
green plaid is a clan plaid but I can't remember which clan it is
associated with.   
Plaids were worn at special events after the laws outlawing them were
lifted.  During the ban, they were worn defiantly to rally the clan,
keep their family identity alive and to provoke a response from the
brits after any particularly trying act of oppression. 
the whole story of the subjection and assimilation of the Gaelic people
is a fastinating one.   
	the economic demarkation isn't valid, a rabidly patriotic scot might
wear plaid as a badge of honor, rich, poor or in between, and the same
can be said for those who consider plaid to be more of a fashion
statement than a political one.   

Well, anyway, FWIW, hope this helps, kitty

Jean Waddie wrote:
> 
> I think you would find a marked urban/rural split as well.  The rich
> folks might have had their servants wear kilts on their Highland estates
> (like John Brown) but not in town.  I get the impression it was a
> "fantasy" fashion, rather than a "sophisticated" fashion, if that makes
> sense.
> 
> Kilts were, of course, quickly adopted for the uniform of some Scottish
> regiments, and you would see more people going about in uniform in
> Victorian times, so that might be a factor.
> 
> As to the working class wearing them, kilts are very expensive - there's
> a huge amount of high quality wool in there, which costs once you have
> to buy it instead of having your own clan's sheep and your women to
> weave it. I don't think the working classes could afford it on their own
> account.
> 
> Just my un-learned tuppence-worth
> 
> Jean
> 
> Catalina Saravia Quicedo <ladyforbeys@yahoo.com> wrote
> >Work clothes pretty much were indistinguishable as to
> >country of origin. Trousers, sturdy shoes, shirt and a
> >short coat. I have seen photos of early railroad
> >workers where some of the workers were wearing plaid
> >flat caps or the infamous "tam-o-shanters" in plaid.
> >Occasionally you'll see a plaid vest. I think after
> >the 1750, the kilt in Scotland became an uncommon item
> >until after Victoria made efforts to revive its
> >popularity. Then it seems to have taken a while for
> >the working class to warm back up to it.
> >
> >Catalina
> >
> >
> > --- sylvia@ntw.net wrote: > Now I'm researching
> >Scottish Victorian costume too,
> >> also circa 1890-1900.
> >> Does anyone know how provalent the wearing of kilts
> >> would have been and
> >> who would have worn them?  I've got both working
> >> class men (mill workers)
> >> who I'm sure wouldnt be wearing kilts and some
> >> noblemen that I'm not sure
> >> of.
> >>
> >> Sylrog
> >> _______________________________________________
> >> h-costume mailing list
> >> h-costume@mail.indra.com
> >> http://mail.indra.com/mailman/listinfo/h-costume
> >
> >=====
> >Catalina
> >Aurum peccamenes multifariam texit
> >
> >
> >
> >
> >
> >____________________________________________________________
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> 
> --
> Jean Waddie
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From h-costume-bounces@indra.com  Mon May 10 00:08:29 2004
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From: "Pandora Nic 'Ille Phadraig" <pandoraf@verizon.net>
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Date: Sun, 9 May 2004 21:11:13 -0700
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specific to Kitty's remark about the kilt being outlawed:
After the defeat of the Jacobite Scots and their supporters at the Battle of
Culloden on 17 April 1746, things went downhill fast for the Highlanders as
many aspects of their freedom and culture were oppressed/legislated out of
existence (many parts of the native Gaelic culture, for example) if not
permanently, at least for a time - such as the proscription of Highland
dress (the kilt) from 1747-1782.

here are some links that go into detail about what is and isn't known about
the history of the kilt, tartans, and other aspects of Scottish dress, from
medieval into more recent times.

http://www.medievalscotland.org/clothing/

http://www.reconstructinghistory.com

http://www.albanach.org/

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kitty Felton
Sent: Sunday, May 09, 2004 8:04 PM
To: Historical Costume
Subject: Re: [h-cost] Scottish Victorian costume


I'm not good on dates, but it seems to me I remember reading that at
some point the kilt and the plaid were outlawed to try to depress the
clan mentality since the scots were so warlike.   in the same way the
gaelic language and the clan names were outlawed.  in Ireland, same
deal, the people were required to change their clan names to names of
either a color, an occupation or something else.   I imagine someone
else has more info on this, but the plaid wasn't really fantasy fashion,
it was very personal.  it identified a clan just as a standard
identified the british families in battle.  Scotsmen, and the
descendants of scotsmen still prize their plaid, and some study the
different plaids to identify who has the "right" to wear them.   some of
our favorite plaids are actually clan plaids.  the popular navy and
green plaid is a clan plaid but I can't remember which clan it is
associated with.
Plaids were worn at special events after the laws outlawing them were
lifted.  During the ban, they were worn defiantly to rally the clan,
keep their family identity alive and to provoke a response from the
brits after any particularly trying act of oppression.
the whole story of the subjection and assimilation of the Gaelic people
is a fastinating one.
	the economic demarkation isn't valid, a rabidly patriotic scot might
wear plaid as a badge of honor, rich, poor or in between, and the same
can be said for those who consider plaid to be more of a fashion
statement than a political one.

Well, anyway, FWIW, hope this helps, kitty




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From h-costume-bounces@indra.com  Mon May 10 02:03:45 2004
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Subject: [h-cost] contact info - French museums
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Greetings all,
I am looking for contact information for some of the museums I will be 
visiting this summer.  Does anyone have contact information for the 
following museums?  I would like to schedule visits in advance, if 
possible.  Thanks!

Albert Bonno Museum, Chelles, France
Musee Municipal, Sens, France
Bibliotheque Nationale, Paris, France.

Any information on museums with Merovingian holdings would be greatly 
appreciated!!  Thanks, again!


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

"But I don't want to go to Transylvania!"

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From h-costume-bounces@indra.com  Mon May 10 03:24:47 2004
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>And thanks again!  My copy is on the way.Wheeeee

Let me know how you like it.

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

             //// \\\
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From: Deredere Galbraith <triade@kabelfoon.nl>
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Hi,

Has anyone heard from this museum?
It is a private collection wich you can see if you make an appointment.
http://www.lyonne.com/pics/download/fil-y3/yonne38.pdf

Greetings,
        Deredere
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At 9:25 AM -0700 5/5/04, Katie Pleasance wrote:
>I have never been interested in the Civil War Era because my 
>impression of it is that the women in the photos were always 
>stern-faced (because of having to hold a position for a long time 
>while the photograph was being taken), the posing tended to be 
>ram-rod straight, and the colors were so *drab*.  To me, this was 
>not an era of happiness, but of stern, sober, drab, depressing 
>garments. I know that people were happy then, as people are in any 
>era, but the photos don't seem to reveal it.

If you look at photos of my great-great-grandfather from the Civil 
War Era, you'd think he was a dull stick indeed.  But if you read his 
diary ....

If I ever got the yen to do CW (which is quite unlikely) it would be 
because of reading those diaries** and having everything come alive 
so vividly.

Heather

**Technically, it's a collation of his diaries and letters to various 
relatives, especially his sister.  The letters tend to provide the 
most lively parts.
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Anyone have an opinion or fact as to why certain three/four button shirts have the nomen of "Henly"?
Kathleen
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In a message dated 5/10/2004 8:09:18 AM Eastern Standard Time, 
rmitchell@washjeff.edu writes:
Anyone have an opinion or fact as to why certain three/four button shirts 
have the nomen of "Henly"?
It's "Henley," and, just a guess, from the Henley Regatta?  Alas, the OED 
doesn't enlighten us as to the term.

Ann Wass
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Subject: [h-cost] Re: period glasses
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When my husband and I used to do 19th-century ballroom dancing, he had a
pair of antique glasses fitted with his prescription. A regular glasses
place did it for the regular charge. But no one would do mine, because my
eyes are so bad that the lenses were too thick for the frames, even plastic
lenses. And I can't wear contact lenses. (Yes, I have tried.) I am not
willing to be blind, so I just wear my glasses.

Gail Finke

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In a message dated 5/10/2004 10:36:08 AM Eastern Standard Time, 
gailscott@eos.net writes:
A regular glasses
place did it for the regular charge. But no one would do mine, because my
eyes are so bad that the lenses were too thick for the frames, even plastic
lenses. And I can't wear contact lenses. (Yes, I have tried.) I am not
willing to be blind, so I just wear my glasses.
Was this very long ago?  I ask because my lenses used to be incredibly thick, 
I thought, and the newer materials they use result in a much thinner lens.

However, what I have done is found a modern frame that has a pretty good 
period look, except that it has nose pieces, and had lined bifocles inserted.  
After all, Benjamin Franklin invented the bifocle, and I do early 19th century 
interpretation.  My first pair, very small round lenses, only have my distance 
perscription--no room for bifocles in them--and I find that I really need the 
close up one, too.  My husband was luckier in that he found a modern frame that 
is almost a perfect period look, as it has no nose pieces.  But I have a 
small face and this frame was too large for me.

Ann Wass
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Subject: Re: [h-cost] Henly shirts.
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Kathleen wrote:
Anyone have an opinion or fact as to why certain three/four button shirts
have the nomen of "Henly"?


Henley shirts (round split neck, several buttons) have their origins in the
crew shirts worn by rowers at the Henley Regatta (near London) beginning
around 1840.  The shirts were adopted by by the sport, which was i
incredibly popular during the 19th c.
                                   -Helen/Aidan



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Subject: Re: [h-cost] period glasses
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Contacts aren't necessarily easier. I need tri-focals and tried to get my
optometrist to give me contacts that I could use for needlework in costume.
She was surprised because usually, people want distance contacts and reading
glasses are an acceptable compromise. Not in this case. We went through
three different prescriptions of contacts before we had to give up. Nothing
worked for me. It may be easier for others, but I've worn glasses all my
life and the contacts just didn't work for needlework.

Best of luck to finding the right corrective lense.

LynnD


On 5/8/04 12:54 PM, "paul Cooper" <deforce@pcez.com> wrote:

> One of the local jewlers here in the Pacific Northwest has used coin holders
> to make verry period looking glasses.  For the lenses he used the cheep ones
> you can get at the local store as long a the lenses are not glass they can be
> easly cut with a jewlers or other fine saw.  The trick is to put the original
> frames on your face and mark the the point at which your puples center them
> selves on the lenses.  use this as your center point for the cutting (make
> sure
> you use a marker that isnt perminant.  Once cut you cut out the lenses you can
> then mount them in the loups of the coin holders.  You then rivit the holders
> together.  You can attach ear pieces if you are adept at soldering (do this
> before mounting lenses.)  This will work in most cases also if you have a pair
> of old lenses you could use them provided they are not to far out of spec for
> your eyes and not glass.  To have new lenses cut and mounted in a purchasesed
> set of frames runs about $50-75 US that is for a simple perscription no
> bifocals
> or extreem perscriptions.  That should include mounting and cutting of new
> lenses
> to your perscription. Don't forget contacts could be an easy answer to this
> problem.
> 
> -------------------
> http://www.pcez.com
> _______________________________________________
> 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: <002101c43688$5f248ea0$6f5183d1@rmitchellras>
	<007501c436aa$c74e8a90$7b3c9b04@HELENPINTO>
Subject: Re: [h-cost] Henly shirts.
Date: Mon, 10 May 2004 13:19:27 -0400
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Thank you Helen and Ann.  I figured it was something like that.  Glad to
have the info.
Kathleen
----- Original Message ----- 
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 10, 2004 12:20 PM
Subject: Re: [h-cost] Henly shirts.


> Kathleen wrote:
> Anyone have an opinion or fact as to why certain three/four button shirts
> have the nomen of "Henly"?
>
>
> Henley shirts (round split neck, several buttons) have their origins in
the
> crew shirts worn by rowers at the Henley Regatta (near London) beginning
> around 1840.  The shirts were adopted by by the sport, which was i
> incredibly popular during the 19th c.
>                                    -Helen/Aidan
>
>
>
> _______________________________________________
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Subject: [h-cost] need a costume made in Santa Barbara.. quickly
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Hi all,
I had a friend forward me a request for a girls size 12/14 Renaissance 
dress.  I don't have time right now to take the commission.  Are there 
any costume designers in or near Santa Barbara that might be able to do 
this.  She has a very short turn around time.  The girl would like 
something "princessy"  :D  It sounds like a fun quick project.

Please email me privately so I can get your info to the client.

Thank you!


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

Public Relations Manager
Sauron/Voldemort 2004

Bush/Cheney - Bringing Bigotry back to the Constitution.

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Subject: [h-cost] Alter Years?
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My apologies for sending this to the list, but we really are trying to
figure out what to do.

Does anyone have any idea how to get a hold of anyone at Alter Years? The
old and new phones now pick up but you can't leave a message. Faxes
sometimes go through but there's no way to know if they are received. I
haven't had any luck with email and apparently when they moved they didn't
file a forwarding address since everything mailed since mid March has come
back. I've tried anything listed currently on their website and also two
other phone and fax numbers, maybe a new physical address if you know of
one?

Thanks,

Suzanne Buffalino, Owner
Grannd Companies/Grannd Garb
732-390-0506 FAX 732-390-1694
www.grannd.com


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The address I have on file is:

Alter Years
8960 E. Huntington Dr.
San Gabriel, CA 91775

In my experience the best way to contact them is by postal mail.  This 
address worked the last time I mailed them anything, but that was 
several months ago.

On a related subject, does anyone know whether Amazon Drygoods has 
updated their catalog in the last few years?   They were circulating a 
really ancient one for awhile, are they still?

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


>Does anyone have any idea how to get a hold of anyone at Alter Years? 
>  
>

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Hi

I've listed some more clothing on E-bay.  This lot includes a Leather
Doublet and some Tunics.  All very nice.  I will be posting fabric, Costume
books, and jewelry in the coming weeks.  The is a list of everything for
sale now.

http://cgi6.ebay.com/ws/eBayISAPI.dll?ViewSellersOtherItems&userid=madly&inc
lude=0&since=-1&sort=3&rows=50

If you wish to receive notification of my sales.  Just join my Group:

http://finance.groups.yahoo.com/group/PhoenixFashionsUpdates/?yguid=14564780
6

Stephen Bergdahl - Owner & Designer
Phoenix Fashions
1818 H Street #10
Sacramento CA 95814
madlystitching@earthlink.net





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From h-costume-bounces@indra.com  Mon May 10 14:33:16 2004
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Date: Mon, 10 May 2004 11:31:16 -0700
Subject: Re: [h-cost] Alter Years?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I ordered a new one two months ago from Amazon, talked to a real person,
paid my $6 and got a two year old catalog. I'm not pleased that I wasn't
told the catalog was so old. I already owned that catalog. No, I haven't
been proactive and called them back to complain; I just wrote it off to
experience and will now ALWAYS ask how new their catalog is.

LynnD



On 5/10/04 11:22 AM, "Lavolta Press" <fran@lavoltapress.com> wrote:

> The address I have on file is:
> 
> Alter Years
> 8960 E. Huntington Dr.
> San Gabriel, CA 91775
> 
> In my experience the best way to contact them is by postal mail.  This
> address worked the last time I mailed them anything, but that was
> several months ago.
> 
> On a related subject, does anyone know whether Amazon Drygoods has
> updated their catalog in the last few years?   They were circulating a
> really ancient one for awhile, are they still?
> 
> Fran
> Lavolta Press Books on Historic Costuming
> http://www.lavoltapress.com
> 
> 
>> Does anyone have any idea how to get a hold of anyone at Alter Years?
>>  
>> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Suzanne" <suzanne@grannd.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Alter Years?
Date: Mon, 10 May 2004 14:47:09 -0400
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Hi Fran,

Thanks but that's the old address that is returning things as
non-forwardable. I'll keep checking around

Suz

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lavolta Press
> Sent: Monday, May 10, 2004 2:22 PM
> To: Historical Costume
> Subject: Re: [h-cost] Alter Years?
>
>
> The address I have on file is:
>
> Alter Years
> 8960 E. Huntington Dr.
> San Gabriel, CA 91775
>
> In my experience the best way to contact them is by postal mail.  This
> address worked the last time I mailed them anything, but that was
> several months ago.
>
> On a related subject, does anyone know whether Amazon Drygoods has
> updated their catalog in the last few years?   They were circulating a
> really ancient one for awhile, are they still?
>
> Fran
> Lavolta Press Books on Historic Costuming
> http://www.lavoltapress.com
>
>
> >Does anyone have any idea how to get a hold of anyone at Alter Years?
> >
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Scottish Victorian costume
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The kilt and the tartan were banned after the third Jacobite rebellion 
in 1745, but it didn't last all that long.  What I was referring to as a 
"fashion" was when Queen Victoria, and following her the Victorian upper 
classes, took to all things Scottish as being "quaint".  It was rather 
like Marie Antoinette dressing as a shepherdess, and had nothing to do 
with any real Scottish connection.  It was something they would enjoy 
playing at, at weekend parties on their highland estates, but I simply 
can't imagine a footman opening the front door of a townhouse in 
Edinburgh wearing a kilt.

I don't want to be nasty, I know it was well meant, but I AM Scottish 
(not American-Scottish - I live in Edinburgh, I work for the Scottish 
government - I support the Scottish rugby team!) I know about tartans 
and their significance, but I was talking about a different context.

Jean



Kitty Felton <basyefelton@floodcity.net> wrote
>I'm not good on dates, but it seems to me I remember reading that at
>some point the kilt and the plaid were outlawed to try to depress the
>clan mentality since the scots were so warlike.   in the same way the
>gaelic language and the clan names were outlawed.  in Ireland, same
>deal, the people were required to change their clan names to names of
>either a color, an occupation or something else.   I imagine someone
>else has more info on this, but the plaid wasn't really fantasy fashion,
>it was very personal.  it identified a clan just as a standard
>identified the british families in battle.  Scotsmen, and the
>descendants of scotsmen still prize their plaid, and some study the
>different plaids to identify who has the "right" to wear them.   some of
>our favorite plaids are actually clan plaids.  the popular navy and
>green plaid is a clan plaid but I can't remember which clan it is
>associated with.
>Plaids were worn at special events after the laws outlawing them were
>lifted.  During the ban, they were worn defiantly to rally the clan,
>keep their family identity alive and to provoke a response from the
>brits after any particularly trying act of oppression.
>the whole story of the subjection and assimilation of the Gaelic people
>is a fastinating one.
>       the economic demarkation isn't valid, a rabidly patriotic scot might
>wear plaid as a badge of honor, rich, poor or in between, and the same
>can be said for those who consider plaid to be more of a fashion
>statement than a political one.
>
>Well, anyway, FWIW, hope this helps, kitty
>
>Jean Waddie wrote:
>>
>> I think you would find a marked urban/rural split as well.  The rich
>> folks might have had their servants wear kilts on their Highland estates
>> (like John Brown) but not in town.  I get the impression it was a
>> "fantasy" fashion, rather than a "sophisticated" fashion, if that makes
>> sense.
>>
>> Kilts were, of course, quickly adopted for the uniform of some Scottish
>> regiments, and you would see more people going about in uniform in
>> Victorian times, so that might be a factor.
>>
>> As to the working class wearing them, kilts are very expensive - there's
>> a huge amount of high quality wool in there, which costs once you have
>> to buy it instead of having your own clan's sheep and your women to
>> weave it. I don't think the working classes could afford it on their own
>> account.
>>
>> Just my un-learned tuppence-worth
>>
>> Jean
>>
>> Catalina Saravia Quicedo <ladyforbeys@yahoo.com> wrote
>> >Work clothes pretty much were indistinguishable as to
>> >country of origin. Trousers, sturdy shoes, shirt and a
>> >short coat. I have seen photos of early railroad
>> >workers where some of the workers were wearing plaid
>> >flat caps or the infamous "tam-o-shanters" in plaid.
>> >Occasionally you'll see a plaid vest. I think after
>> >the 1750, the kilt in Scotland became an uncommon item
>> >until after Victoria made efforts to revive its
>> >popularity. Then it seems to have taken a while for
>> >the working class to warm back up to it.
>> >
>> >Catalina
>> >
>> >
>> > --- sylvia@ntw.net wrote: > Now I'm researching
>> >Scottish Victorian costume too,
>> >> also circa 1890-1900.
>> >> Does anyone know how provalent the wearing of kilts
>> >> would have been and
>> >> who would have worn them?  I've got both working
>> >> class men (mill workers)
>> >> who I'm sure wouldnt be wearing kilts and some
>> >> noblemen that I'm not sure
>> >> of.
>> >>
>> >> Sylrog
>> >> _______________________________________________
>> >> h-costume mailing list
>> >> h-costume@mail.indra.com
>> >> http://mail.indra.com/mailman/listinfo/h-costume
>> >
>> >=====
>> >Catalina
>> >Aurum peccamenes multifariam texit
>> >
>> >
>> >
>> >
>> >
>> >____________________________________________________________
>> >Yahoo! Messenger - Communicate instantly..."Ping"
>> >your friends today! Download Messenger Now
>> >http://uk.messenger.yahoo.com/download/index.html
>> >_______________________________________________
>> >h-costume mailing list
>> >h-costume@mail.indra.com
>> >http://mail.indra.com/mailman/listinfo/h-costume
>>
>> --
>> Jean Waddie
>> _______________________________________________
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>
>_______________________________________________
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-- 
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This is so obvious you probably already tried it, but have you looked up 
either Janet Wilson Anderson or Alter Years in a local phone book?  The 
postal address might be there.

Another thing you might try is looking up the website for the 2004 
Costume College.  Since they are local Alter Years may have signed up as 
a vendor and therefore the Costume College organizers might put you in 
touch.

If you get the new address please let me know what it is.

Fran

Suzanne wrote:

>Hi Fran,
>
>Thanks but that's the old address that is returning things as
>non-forwardable. I'll keep checking around
>
>Suz
>
>  
>
>  
>

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Alter Years?
Date: Mon, 10 May 2004 16:30:35 -0500
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Try:
Grannd Companies
295 Main St.
South River, NJ. 08882

or

http://www.grannd.com/alteryears.shtml


-----Original Message-----
This is so obvious you probably already tried it, but have you looked up 
either Janet Wilson Anderson or Alter Years in a local phone book?  The 
postal address might be there.

Another thing you might try is looking up the website for the 2004 
Costume College.  Since they are local Alter Years may have signed up as 
a vendor and therefore the Costume College organizers might put you in 
touch.

If you get the new address please let me know what it is.

Fran

Suzanne wrote:

>Hi Fran,
>
>Thanks but that's the old address that is returning things as
>non-forwardable. I'll keep checking around
>
>Suz
>
>  
>
>  
>

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	<006901c42843$df39e610$4096fea9@CPQ21932199711>
Subject: Re: Machine feet Re: [h-cost] My Best Tips & Tricks
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 22, 2004 4:29 AM
Subject: Re: Machine feet Re: [h-cost] My Best Tips & Tricks


> Hi Ann,
> If you like me use a Husqvarna Sewing Machine, you also gets i think 10
> different feets. One for each seam. It is a little anoying at start, and i
> have broken some needles because of that, but the seams gets so
beautifull.
> I also have an automatic buttonhole maker on my machine, you sets it to
wich
> lenght you want, and woila the buttonhole is done in a minute. It costed
me
> about 1000 dollars, but surely it has ben worth it.
> It never strikes.................
>
> Bjarne
>

Hi Bjarne,
I have a Viking Lily 555, and it's a dream to work with. I haven't given it
anything it can't manage yet, and it makes beautiful, even seams. I
especially love the stretch seams, that way I can sew those stretchy jeans
hems easily. And I love all those extra feet, but I agree you have to learn
to use them first. As for the buttonhole maker, you just have to be careful
to give it something stiff to stitch with, even if it's just paper. I've
tried to use it on felt and it didn't work very well, but it worked fine on
everything else.
I have a buch of fancy seams. With gold thread it gives a pretty convincing
result.
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Subject: Re: [h-cost] Pre 1800s armpit protection
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I know I'm late for this answer, but I remember when I read Gargantua by
Rabelais that, when he describes Gargantua's clothing, he states the fabric
needed for his shirt separately from the fabric needed for his gussets.

It went like this
Pour sa chemise furent levées neuf cens aulnes de toille de Chasteleraud, et
deux cens pour les coussons en sorte de carreaulx, lesquelz on mist soubz
les esselles.

Which could be translated somewhat like "For his shirt were ordered nine
hundred (aulnes - that's a measurement I don't know) of cloth (de
Chasteleraud) and two hundred for the gussets in the shape of squares, which
were put under the armpits."

----- Original Message ----- 
From: "Hilary Davidson" <hbgd103@soton.ac.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 29, 2004 11:41 AM
Subject: RE: [h-cost] Pre 1800s armpit protection


> Thanks for the responses. This is a really interesting thought. ARe
> there any extant garments with different linen in the gussets?
> > Also, notice the shirts for men and shifts for women.  The
> > construction was
> > such that the same square sewn on the bias to the body and sleeve for
> > movement was such that one could cut out the worn or stinky squares and
> > replace them.  I realized this when constructing a shift for myself for
> > RenFaire.
>
>
>  From a survey of the collections at Platt Hall in Manchester (the
> gallery of English Costume), it seems that degredation of the fabrics
> in teh armpits of 18th c dresses comes from their being worn as fancy
> dress in the 19th century, presumably without a longer sleeved chemise
> underneath. Cunnington bases teh increase in dress shields from 1840
> from this collection (well, he put it together) and it seems that other
> dress historians have based their work on this dating.
>
> >
>
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume
>
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Subject: Re: [h-cost] What would a chameleon wear?
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> But at worst I think I was assumed to be a tourist from elsewhere
> in Europe, not an American.
>
> Till I opened my mouth ;-)

I just got back from France, and we were usually assumed to be tourists from
Europe... until we opened our mouths, and they heard our French-Canadian
accent... then they started talking to us in English. "Non madame, en
Français s'il-vous-plaît, c'est beaucoup plus facile." One girl even asked
what the language was in Quebec. "Français!" Then she asked what the local
language was - the other one than French. "FRANÇAIS!"

To get back on the clothing topic: I don't know how it is during the summer,
but at this time of the year, they wore lots of dark shades and lots of
black. Maybe it's just because Summer is not quit there yet. I didn't notice
clothing, which means it was similar to what is worn in Montreal, but I did
notice a lot of fashionable shoes. Pointy shoes are in fashion, as well as
very high pointy heels. We also saw some brightly colored shoes (bright red
or bright yellow). And some of them are as clumsly with high heels on as
most North-Americans are. So, if you're going to wear sneakers, make them
the fashionable kind of walking shoes, not the typical white sneakers,
that'd be a dead giveaway.

Aside from that, I can't be much help, because I know we already dress
slightly differently in Quebec than the rest of North America, so there are
probably things I didn't notice. If you don't want to be noticed, bring a
handbag instead of a backpack, and hide your camera whenever you're not
using it.

Enjoy your trip!
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oops, open mouth, insert foot.  sorry

> The kilt and the tartan were banned after the third Jacobite rebellion
> in 1745, but it didn't last all that long.  What I was referring to as a
>  "fashion" was when Queen Victoria, and following her the Victorian
> upper  classes, took to all things Scottish as being "quaint".  It was
> rather  like Marie Antoinette dressing as a shepherdess, and had nothing
> to do  with any real Scottish connection.  It was something they would
> enjoy  playing at, at weekend parties on their highland estates, but I
> simply  can't imagine a footman opening the front door of a townhouse in
>
> Edinburgh wearing a kilt.
>
> I don't want to be nasty, I know it was well meant, but I AM Scottish
> (not American-Scottish - I live in Edinburgh, I work for the Scottish
> government - I support the Scottish rugby team!) I know about tartans
> and their significance, but I was talking about a different context.
>
> Jean
>
>
>
> Kitty Felton <basyefelton@floodcity.net> wrote
>>I'm not good on dates, but it seems to me I remember reading that at
>> some point the kilt and the plaid were outlawed to try to depress the
>> clan mentality since the scots were so warlike.   in the same way the
>> gaelic language and the clan names were outlawed.  in Ireland, same
>> deal, the people were required to change their clan names to names of
>> either a color, an occupation or something else.   I imagine someone
>> else has more info on this, but the plaid wasn't really fantasy
>> fashion, it was very personal.  it identified a clan just as a standard
>>identified the british families in battle.  Scotsmen, and the
>>descendants of scotsmen still prize their plaid, and some study the
>> different plaids to identify who has the "right" to wear them.   some
>> of our favorite plaids are actually clan plaids.  the popular navy and
>> green plaid is a clan plaid but I can't remember which clan it is
>> associated with.
>>Plaids were worn at special events after the laws outlawing them were
>> lifted.  During the ban, they were worn defiantly to rally the clan,
>> keep their family identity alive and to provoke a response from the
>> brits after any particularly trying act of oppression.
>>the whole story of the subjection and assimilation of the Gaelic people
>> is a fastinating one.
>>       the economic demarkation isn't valid, a rabidly patriotic scot
>> might
>>wear plaid as a badge of honor, rich, poor or in between, and the same
>> can be said for those who consider plaid to be more of a fashion
>>statement than a political one.
>>
>>Well, anyway, FWIW, hope this helps, kitty
>>
>>Jean Waddie wrote:
>>>
>>> I think you would find a marked urban/rural split as well.  The rich
>>> folks might have had their servants wear kilts on their Highland
>>> estates (like John Brown) but not in town.  I get the impression it
>>> was a "fantasy" fashion, rather than a "sophisticated" fashion, if
>>> that makes sense.
>>>
>>> Kilts were, of course, quickly adopted for the uniform of some
>>> Scottish regiments, and you would see more people going about in
>>> uniform in Victorian times, so that might be a factor.
>>>
>>> As to the working class wearing them, kilts are very expensive -
>>> there's a huge amount of high quality wool in there, which costs once
>>> you have to buy it instead of having your own clan's sheep and your
>>> women to weave it. I don't think the working classes could afford it
>>> on their own account.
>>>
>>> Just my un-learned tuppence-worth
>>>
>>> Jean
>>>
>>> Catalina Saravia Quicedo <ladyforbeys@yahoo.com> wrote
>>> >Work clothes pretty much were indistinguishable as to
>>> >country of origin. Trousers, sturdy shoes, shirt and a
>>> >short coat. I have seen photos of early railroad
>>> >workers where some of the workers were wearing plaid
>>> >flat caps or the infamous "tam-o-shanters" in plaid.
>>> >Occasionally you'll see a plaid vest. I think after
>>> >the 1750, the kilt in Scotland became an uncommon item
>>> >until after Victoria made efforts to revive its
>>> >popularity. Then it seems to have taken a while for
>>> >the working class to warm back up to it.
>>> >
>>> >Catalina
>>> >
>>> >
>>> > --- sylvia@ntw.net wrote: > Now I'm researching
>>> >Scottish Victorian costume too,
>>> >> also circa 1890-1900.
>>> >> Does anyone know how provalent the wearing of kilts
>>> >> would have been and
>>> >> who would have worn them?  I've got both working
>>> >> class men (mill workers)
>>> >> who I'm sure wouldnt be wearing kilts and some
>>> >> noblemen that I'm not sure
>>> >> of.
>>> >>
>>> >> Sylrog
>>> >> _______________________________________________
>>> >> h-costume mailing list
>>> >> h-costume@mail.indra.com
>>> >> http://mail.indra.com/mailman/listinfo/h-costume
>>> >
>>> >=====
>>> >Catalina
>>> >Aurum peccamenes multifariam texit
>>> >
>>> >
>>> >
>>> >
>>> >
>>> >____________________________________________________________
>>> >Yahoo! Messenger - Communicate instantly..."Ping"
>>> >your friends today! Download Messenger Now
>>> >http://uk.messenger.yahoo.com/download/index.html
>>> >_______________________________________________
>>> >h-costume mailing list
>>> >h-costume@mail.indra.com
>>> >http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>> --
>>> Jean Waddie
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
> --
> Jean Waddie
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Mon May 10 21:37:18 2004
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Subject: Re: [h-cost] My Best Tips & Tricks
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I know I'm three weeks late, but I just had to answer...

>  I don't have to have a Masters Degree in
> > Origami to get it
> > in there.
> ROFL!!!  I think that this is what modern seamstresses have to do in
> Purgatory.

Surprisingly, that part that everyone else seems to hate doesn't bother me
at all. I just refold the thing on the original folds, put it back in the
original envelope, and move on. Sometimes I iron cut pieces on low heat and
refold them more conveniently - and put them back in the original envelope
:-) Along with preparing the fabric, preparing the pattern is one of the
most soothing parts of sewing for me.

> (Motto:  Buy it now - find the outfit later!  If you buy at the last
minute
> you'll pay more.  If you have a stash you can smugly tell everyone how
much
> you saved by buying it on sale (25 years ago ;-)

That's the exact opposite of my motto. I never buy anything unless I have a
project in mind. If I have projectless fabric, it tends to just sit there
forever in my stash and never gets used. Except for white linen, of course.

> > * Basting before machine sewing is NEVER a waste of
> > time.
> * In a similar vein, I never machine-stitch more than
> two layers of fabric together at once.  If a seam is
> going to have more layers, I sew two together slightly
> inside the seam allowance, maybe with a longer stitch
> length, then add one more....

What I do in those cases, or when I try to sew slippery fabric, is use my
double feed foot. It works wonderfully. Fabric never shifts anymore.

Okay, here's for real tips

* Get the right foot for the right job. Really, it's worth it.

* If you can get a walking foot for your machine, get it. It's worth its
price in gold.

* If it moves, hand baste it.

* If it looks like it even wants to start thinking of fraying, finish the
edges before you start sewing.

* If it's linen, wash it on HOT at least twice before doing anything with
it. Prewash and iron everything you think you'll want to wash later on. Even
if it's not supposed to shrink.
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Date: Mon, 10 May 2004 21:43:43 -0500
From: Joe Robertson <joedr@charter.net>
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Subject: [h-cost] Period clothiers in Texas
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A few months ago, I was made aware of an able historic costumers group
that meets in the Lewisville, Texas area. Since I lost that information
in the crash of 2003, can someone hook me back up with those folks?
Joe


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From h-costume-bounces@indra.com  Mon May 10 22:58:05 2004
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Subject: Re: [h-cost] Period clothiers in Texas
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Yes!

That would have been me and I have been trying to get a hold of you for a
while now. :)

This explains it. I will email you privately here in a bit with all that
info and the name of the lady willing to sew for you. :)

Chiara
----- Original Message ----- 
From: "Joe Robertson" <joedr@charter.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 10, 2004 9:43 PM
Subject: [h-cost] Period clothiers in Texas


: A few months ago, I was made aware of an able historic costumers group
: that meets in the Lewisville, Texas area. Since I lost that information
: in the crash of 2003, can someone hook me back up with those folks?
: Joe
:
:
: _______________________________________________
: h-costume mailing list
: h-costume@mail.indra.com
: http://mail.indra.com/mailman/listinfo/h-costume

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Date: Mon, 10 May 2004 20:01:41 -0700 (PDT)
Subject: RE: [h-cost] Alter Years?
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> Hi Fran,
>
> Thanks but that's the old address that is returning things as
> non-forwardable. I'll keep checking around
>
> Suz
>

As a member of Costume College, Alter Years put a flyer in the newsletter
a couple of months ago.  What it said was that they no longer had a retail
shop, that they had moved to a warehouse location.  It also said that you
could make an appointment to see the warehouse by calling first.

I am sorry that I didn't save the flyer so that I could give you more
information.  However I would suggest that you contact someone from the
www.costumecollege.org web page.  Someone will probably have the
information that you seek.

Good luck!

Diana

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Pre 1800s armpit protection
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Hi, All. I do not believe that the gussetts mentioned in any way reflect 
the need for replacement in the garment. They were a simple way of using 
a geometric shape that followed the grainline of the fabric in such a 
way as to give easement to the fit of the garment. To the contrary of 
most beliefs about cleanliness of our ancestors, the singlet, or the 
clothing closest to the body, was expected to be changed by people, at 
least in polite society (this means not only nobility, but those trying 
to emulate them, the petty bourgoisie). There is an English to French 
manual, published at the end of the 16th/beginning of the 17th cent. 
which mentions this... the book gives phrases in both languages, and has 
the protagonist waking in the morning, and asking his mother/servant (?) 
for a fresh shirt, stockings, etc. In addition, we also know that a 
variety of whitewares (linens,  from bed, table and body) were regularly 
washed due to an interesting artifact shown in " The Elizabethan 
Household" by Lena Cowen Orlin. On pg. 54 is shown a Linen counter, made 
of paper and brass, used to count laundry going out of the house. The 
artifact is held in the Agecroft Hall collection in Richmond, Va. but 
the text says that an identical one is at Haddon Hall in Derbyshire. The 
categories of laundry are as follows; Bandes, cuffs, handkerchers, 
Cappes, shirtes, halfshirtes, bootehose, Topps, sockes, sheetes, 
Pillowbeeres, Tableclothes, Napkins and towells. The first category is 
obscured by damage to the paper. The text along with the counter also 
mentions John Taylor's "The Praise of Cleane Linnen..."  To conclude, I 
do not believe that the construction method was in any way related to 
the perspiration issue. Considering that many people have their doubts 
as to whether men and women in the 16th/17th Cents. were wearing 
netherbreeches, the armpit stains were probably the least of the 
laundresses' worries  ;)    I just spent two days in my linen 17th cent. 
shirt, worn with a linen-lined woolen doublet overtop in 75 degree 
weather (Farenheit, for our European friends). I also wear linen cuthose 
under knit woolen hose. Not to be too graphic, but the sweat wasn't 
confined to my pits, which is good, 'cause the great thing about linen 
is the wicking it does (warm in the winter and cool in the summer). 
Don't worry, I usually change my linens, I was trying an experiment (I 
even slept in it). Cheers, Mike T.


>  
>


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Direct from Janet, by way of a flyer posted on ICG-D:

>Here's the text of the flyer Janet was giving out at "Festival of the West"
>announcing the new contact information for AlterYears:
>__________________________
>
>AlterYears is Changing!
>We're moving out of the store and going to Mail Order and Will Call effective
>April 1.
>
>New Numbers: Phone (626) 569-9179 Fax (626) 569-9099
>
>New Hours: Mon Noon-4 pm, Tues, Weds, Fri - 10 am-5:30 pm, Thurs 10 am - 7:30
>pm, Sat by appointment.
>
>Mail Order - works just as it always has: Call us with your order and we ship
>it out.
>
>(pencilled in) PO Box 98, Rosemead CA 91770
>
>Will Call - Call us with your order; we will pullit from the warehouse and
>have it ready for you to pick up - usually the next working day. Pick-up
>address: 8553 Village Ln, Rosemead CA
>
>Need to look at stuff to decide? Call us and make an appointment for us to
>take you to the warehouse.
>
>Questions?  Call Us!

HTH,

Pierre and Sandy


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

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

Andromeda  


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At Wed, 5 May 2004 23:10:28 -0700, "Molly Boone" 
<Rampant_Peacock@comcast.net> responded to Lisa Ashton:

>Check out www.cheeptrims.com for your trim...

>...I found some black spiral tube trim that would look great, although I
>foresee I"m going to need a hundred yards of it...

Interestingly enough, the impression *I* got of the trim is that it was 
crocheted!

But it's not a place or period I've studied, so of course I could be wrong!




Brenda
webwarren@earthlink.net


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Mike T. wrote: 
[snip]

> 
In addition, we also know that a variety of whitewares (linens,  from
bed, >table and body) were regularly washed due to an interesting
artifact >shown in " The Elizabethan Household" by Lena Cowen Orlin. On
pg. 54 >is shown a Linen counter, made of paper and brass, used to count
>laundry going out of the house. The artifact is held in the Agecroft
Hall >collection in Richmond, Va. but the text says that an identical
one is at >Haddon Hall in Derbyshire. 

I can vouch for that, as I've visited Haddon Hall and seen the item on
a number of occasions. They call it a "washing tally".


______________

Kate Bunting
Library, University of Derby
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Hi,

Alteryears has moved.  Here is ther current phone number  626 569-9919 and 
current fax number is 626 569-9909.

Hope that helps.

Mary LaVenture
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: "Sepia Dress" (WAS: RE: [h-cost] photo)
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>Interestingly enough, the impression *I* got of the trim is that it was 
>crocheted!
>
>But it's not a place or period I've studied, so of course I could be wrong!

I crochet, and I assure you this trim isn't crochet.  The way the loops go
together is all wrong for crochet, but it's the same shape as in those
sewn-braid appliques seen in contemporary mail order catalogs.  I don't
have any original examples of these, but the braid appliques look very much
like the beaded appliques also common at this time, and I do have some of
those.  The beads are sewn onto a foundation of soutache which has been
sewn together, probably by hand.

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

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Subject: Re: [h-cost] Pre 1800s armpit protection
Date: Tue, 11 May 2004 20:43:35 +0200
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Hi.
If some of you have read Ribeiros costume in 18th century Europe, you also
reads that the sleaves often rotted away long before the rest of the dress,
because of the sweatting.

Bjarne


----- Original Message ----- 
From: "michael tartaglio" <mikes@dandy.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 11, 2004 5:21 AM
Subject: Re: [h-cost] Pre 1800s armpit protection


> Hi, All. I do not believe that the gussetts mentioned in any way reflect
> the need for replacement in the garment. They were a simple way of using
> a geometric shape that followed the grainline of the fabric in such a
> way as to give easement to the fit of the garment. To the contrary of
> most beliefs about cleanliness of our ancestors, the singlet, or the
> clothing closest to the body, was expected to be changed by people, at
> least in polite society (this means not only nobility, but those trying
> to emulate them, the petty bourgoisie). There is an English to French
> manual, published at the end of the 16th/beginning of the 17th cent.
> which mentions this... the book gives phrases in both languages, and has
> the protagonist waking in the morning, and asking his mother/servant (?)
> for a fresh shirt, stockings, etc. In addition, we also know that a
> variety of whitewares (linens,  from bed, table and body) were regularly
> washed due to an interesting artifact shown in " The Elizabethan
> Household" by Lena Cowen Orlin. On pg. 54 is shown a Linen counter, made
> of paper and brass, used to count laundry going out of the house. The
> artifact is held in the Agecroft Hall collection in Richmond, Va. but
> the text says that an identical one is at Haddon Hall in Derbyshire. The
> categories of laundry are as follows; Bandes, cuffs, handkerchers,
> Cappes, shirtes, halfshirtes, bootehose, Topps, sockes, sheetes,
> Pillowbeeres, Tableclothes, Napkins and towells. The first category is
> obscured by damage to the paper. The text along with the counter also
> mentions John Taylor's "The Praise of Cleane Linnen..."  To conclude, I
> do not believe that the construction method was in any way related to
> the perspiration issue. Considering that many people have their doubts
> as to whether men and women in the 16th/17th Cents. were wearing
> netherbreeches, the armpit stains were probably the least of the
> laundresses' worries  ;)    I just spent two days in my linen 17th cent.
> shirt, worn with a linen-lined woolen doublet overtop in 75 degree
> weather (Farenheit, for our European friends). I also wear linen cuthose
> under knit woolen hose. Not to be too graphic, but the sweat wasn't
> confined to my pits, which is good, 'cause the great thing about linen
> is the wicking it does (warm in the winter and cool in the summer).
> Don't worry, I usually change my linens, I was trying an experiment (I
> even slept in it). Cheers, Mike T.
>
>
> >
> >
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Does this mean they now have a website or are going to be reprinting their catalog?

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Subject: [h-cost] 15th century Southern Italian or Portugese upper class
	question
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Teddy may not be able to get to h-costume anymore, but he posted a 
question in his LiveJournal yesterday, and I offered to pass it on to 
here for him.  Unfortunately, I don't have his e-mail address anymore, 
but I'll toss any responses to h-costume back at him through his LJ... 
or you can e-mail him directly if you know his address.

Teddy asks:

> Any of you costumers reading this know of any good picture sources for 
> late 15th century (1480ish) Southern -Italian or Portugese ladies 
> (upper class) gowns? Someone will be calling me to discuss it sometime 
> soon so I'm hoping you can save me a search. Thanks in advance!




Thanks!
-Elisabeth


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Subject: [h-cost] looking for Welsh costumer
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Hi,

I'm looking for the URL of a costumer that lives in Wales. I've forgotten 
her name, but the URL is firstnamelastname.com and I think her first name 
is Sally, but I'm not sure. She's either on this list or SCA-garb, but I 
don't remember which.

She has photos of a brilliant red gown with a skirt with a very long hem 
that I want to make. I thought I had book marked her URL, but apparently, I 
hadn't.

Thanks,

Katie



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From: "Dianne & Greg Stucki" <goofy1@suscom.net>
To: "Historical Costume" <h-costume@indra.com>
References: <BCC09482.4CE1%lauren.walker@comcast.net><BCC09482.4CE1%lauren.walker@comcast.net>
	<5.2.0.9.0.20040512115416.00b6f268@mail.katiesorchids.com>
Subject: Re: [h-cost] looking for Welsh costumer
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Responded privately.

Dianne
----- Original Message ----- 
From: "Katie Pleasance" <Katie@katiesorchids.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 12, 2004 2:59 PM
Subject: [h-cost] looking for Welsh costumer


> Hi,
>
> I'm looking for the URL of a costumer that lives in Wales. I've forgotten
> her name, but the URL is firstnamelastname.com and I think her first name
> is Sally, but I'm not sure. She's either on this list or SCA-garb, but I
> don't remember which.
>
> She has photos of a brilliant red gown with a skirt with a very long hem
> that I want to make. I thought I had book marked her URL, but apparently,
I
> hadn't.
>
> Thanks,
>
> Katie
>
>
>
> _______________________________________________
> 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 May 12 22:53:17 2004
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] looking for Welsh costumer
Date: Wed, 12 May 2004 19:52:06 -0700
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I'd like to know too!  Sounds interesting!

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Dianne & Greg Stucki
> Sent: Wednesday, May 12, 2004 5:49 PM
> To: Historical Costume
> Subject: Re: [h-cost] looking for Welsh costumer
> 
> Responded privately.
> 
> Dianne
> ----- Original Message -----
> From: "Katie Pleasance" <Katie@katiesorchids.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, May 12, 2004 2:59 PM
> Subject: [h-cost] looking for Welsh costumer
> 
> 
> > Hi,
> >
> > I'm looking for the URL of a costumer that lives in Wales. I've
forgotten
> > her name, but the URL is firstnamelastname.com and I think her first
name
> > is Sally, but I'm not sure. She's either on this list or SCA-garb, but I
> > don't remember which.
> >
> > She has photos of a brilliant red gown with a skirt with a very long hem
> > that I want to make. I thought I had book marked her URL, but
apparently,
> I
> > hadn't.
> >
> > Thanks,
> >
> > Katie
> >
> >
> >
> > _______________________________________________
> > 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: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 15th century Southern Italian or Portugese upper
	classquestion
Date: Wed, 12 May 2004 19:53:15 -0700
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I'd like to see his live journal...do you have his url?  He doesn't have his
email there...odd.

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Cozit / Liz
> Sent: Wednesday, May 12, 2004 1:36 PM
> To: h-costume@indra.com
> Subject: [h-cost] 15th century Southern Italian or Portugese upper
classquestion
> 
> Teddy may not be able to get to h-costume anymore, but he posted a
> question in his LiveJournal yesterday, and I offered to pass it on to
> here for him.  Unfortunately, I don't have his e-mail address anymore,
> but I'll toss any responses to h-costume back at him through his LJ...
> or you can e-mail him directly if you know his address.
> 
> Teddy asks:
> 
> > Any of you costumers reading this know of any good picture sources for
> > late 15th century (1480ish) Southern -Italian or Portugese ladies
> > (upper class) gowns? Someone will be calling me to discuss it sometime
> > soon so I'm hoping you can save me a search. Thanks in advance!
> 
> 
> 
> 
> Thanks!
> -Elisabeth
> 
> 
> _______________________________________________
> 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 May 13 02:39:02 2004
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From: "Penny Ladnier" <penny@costumegallery.com>
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Check this one out, printed in 1482:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=2201&item=3721040983

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 May 13 02:56:50 2004
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
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Also check out the other auctions of this dealer.  If I had the money and a
climate controlled vault, I would want them!

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


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Date: Thu, 13 May 2004 10:04:45 +0300 (IDT)
From: Yehoshua ben Haym <zkessin@cs.brandeis.edu>
Subject: Re: [h-cost] 15th century Southern Italian or Portugese upper class
	question
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What's his live journal? I'm always looking for more costume types on
Livejournal.

--
Yehoshua ben Haym haYerushalmi
Senischal soon to be Shire of Beit Aryeh
MKA Zachary Kessin Jerusalem, Israel
zkessin@cs.brandeis.edu IM:ZachKessin LiveJournal: zachkessin

On Wed, 12 May 2004, Cozit / Liz wrote:

> Teddy may not be able to get to h-costume anymore, but he posted a
> question in his LiveJournal yesterday, and I offered to pass it on to
> here for him.  Unfortunately, I don't have his e-mail address anymore,
> but I'll toss any responses to h-costume back at him through his LJ...
> or you can e-mail him directly if you know his address.
>
> Teddy asks:
>
> > Any of you costumers reading this know of any good picture sources for
> > late 15th century (1480ish) Southern -Italian or Portugese ladies
> > (upper class) gowns? Someone will be calling me to discuss it sometime
> > soon so I'm hoping you can save me a search. Thanks in advance!
>
>
>
>
> Thanks!
> -Elisabeth
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: "Dianne & Greg Stucki" <goofy1@suscom.net>
To: "Historical Costume" <h-costume@indra.com>
References: <003601c43895$478493d0$6a01a8c0@SG01>
Subject: Re: [h-cost] looking for Welsh costumer
Date: Thu, 13 May 2004 07:07:23 -0400
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I found Ms Pointer's website addy. The page with that magnificent red dress
is still there, too. I want that dress.

http://www.geocities.com/sallypointer/

Dianne
----- Original Message ----- 
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Wednesday, May 12, 2004 10:52 PM
Subject: RE: [h-cost] looking for Welsh costumer


> I'd like to know too!  Sounds interesting!
>
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
> > Behalf Of Dianne & Greg Stucki
> > Sent: Wednesday, May 12, 2004 5:49 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] looking for Welsh costumer
> >
> > Responded privately.
> >
> > Dianne
> > ----- Original Message -----
> > From: "Katie Pleasance" <Katie@katiesorchids.com>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Wednesday, May 12, 2004 2:59 PM
> > Subject: [h-cost] looking for Welsh costumer
> >
> >
> > > Hi,
> > >
> > > I'm looking for the URL of a costumer that lives in Wales. I've
> forgotten
> > > her name, but the URL is firstnamelastname.com and I think her first
> name
> > > is Sally, but I'm not sure. She's either on this list or SCA-garb, but
I
> > > don't remember which.
> > >
> > > She has photos of a brilliant red gown with a skirt with a very long
hem
> > > that I want to make. I thought I had book marked her URL, but
> apparently,
> > I
> > > hadn't.
> > >
> > > Thanks,
> > >
> > > Katie
> > >
> > >
> > >
> > > _______________________________________________
> > > 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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Dianne & Greg Stucki wrote:

> I found Ms Pointer's website addy. The page with that magnificent red dress
> is still there, too. I want that dress.
> 
> http://www.geocities.com/sallypointer/

Thanks for posting that!

The cutting diagram for the red dress is nearly the same as for one I 
have from a Victorian costume book; costume minds think alike, I guess.

  I made a couple from this pattern before finding out about center 
gores; all that fabric at the side seam tends to stay right there: at 
the side seam, rather than distributing around properly.  And if you 
want the floor-length-or-longer look, the wings of fabric at the side 
trail straight back as you walk, so you look rather like you have on a 
tube skirt with fullness behind.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Losing weight is like chipping away at boulder with a toothpick.
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Can you respond publicly, too? I'd like to get a look at that!


----- Original Message ----- 
From: "Dianne & Greg Stucki" <goofy1@suscom.net>
Subject: Re: [h-cost] looking for Welsh costumer


> Responded privately.
> 
> Dianne

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Date: Thu, 13 May 2004 08:49:32 -0500
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Subject: [h-cost] watered silk taffeta 
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Has anyone ever found a source for 100% silk moire (watered) taffeta? 
And how exactly was it made, anyway, in case I can't ever find the stuff--does one just put water spots in the right pattern, or is it more complicated than that?

-E
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Subject: Re: [h-cost] watered silk taffeta 
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Silk taffeta is hard steamed with wax on watered pattern.
It is very very difficult to find in silk.
If you do, let me know.

Bjarne


----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 13, 2004 3:49 PM
Subject: [h-cost] watered silk taffeta


Has anyone ever found a source for 100% silk moire (watered) taffeta?
And how exactly was it made, anyway, in case I can't ever find the
stuff--does one just put water spots in the right pattern, or is it more
complicated than that?

-E
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Subject: Re: [h-cost] watered silk taffeta 
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In a message dated 5/13/2004 9:49:42 AM Eastern Standard Time, 
formfunc@formfunction.org writes:
And how exactly was it made, anyway, in case I can't ever find the 
stuff--does one just put water spots in the right pattern, or is it more complicated 
than that?
I believe it's done with patterned and heated? rollers.
Ann Wass
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From: "E House" <formfunc@formfunction.org>
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Subject: Re: [h-cost] watered silk taffeta 
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I should probably rephrase--does anyone know how it was done c1660-65? Was
it done the same way? That process doesn't sound technologically out of
reach for c1660, but it wouldn't surprise me if the process started out,
well, less complicated...?

-E (planning to duplicate that pink corset at the V&A, and if that baleen
thing happens...!!)

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Subject: Re: [h-cost] watered silk taffeta
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E House wrote:

> I should probably rephrase--does anyone know how it was done c1660-65? Was

I read in a book about silk (can't remember the name, but it seemed well 
researched) that they used to take two lengths of slightly ribbed silk 
(faille?) and iron them (possibly with heated rollers like they use to 
iron sheets in big hotels these days) together.  This produced an 
interference pattern like you get with light/optics, or two ripples in a 
pond, but in the fabric.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Losing weight is like chipping away at boulder with a toothpick.
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Subject: [h-cost] Looking for pattern
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I'm looking for a gown pattern I saw in an old Amazon Drygoods catalog
several years ago.(I long since lent the catalog to someone who couldn't
return it). It was a gown reportedly worn by a woman who escaped from France
into England during the French Revolution and is a good example of the
transition of gown style from the robe l'anglais to the high-waisted
classical mode during the 1790's. If I recall correctly, the company that
sold this pattern also sold one for Charlotte Bronte's wedding dress.

Thanks for any help in locating the pattern and any sellers.

Cindy Abel
brujne@creighton.edu


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From h-costume-bounces@indra.com  Thu May 13 10:29:35 2004
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Hi,
Here i send you a link for one of my works in vain. This hard work i have to discharge. The neckline is two horisontal and should have ben much rounder. I think my dress stand has two broad shoulders, i dont know but several days of work is done in vain. grrrrrrrrrrrrrrrrrrrrrrr.
http://www.my-drewscostumes.dk/sophiabodice.htm
Well i think also that the waistline is two low, many things are wrong. I want it to be perfect this time for the museum, so back to work...............

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: Re: [h-cost] Interesting on ebay
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Penny, you are completely *evil* (in a very nice way, of course!)
--sue, drooling into her morning tea....

Penny Ladnier wrote:

> Check this one out, printed in 1482:
> 
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=2201&item=3721040983
> 

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Subject: Re: [h-cost] Looking for pattern
References: <FOEDLIJMMAMODKMIIIMKMEELDEAA.brujne@creighton.edu>
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It was published by the Northern Society of Costume and Textiles and is 
sold on their website:

http://www.nsct.org.uk/

They also sell several other patterns, including one of Charlotte 
Bronte's going-away dress.

Fran
Lavolta Press Books on Historic Costume
http://www.lavoltapress.com

Cindy Abel wrote:

>I'm looking for a gown pattern I saw in an old Amazon Drygoods catalog
>several years ago.(I long since lent the catalog to someone who couldn't
>return it). It was a gown reportedly worn by a woman who escaped from France
>into England during the French Revolution and is a good example of the
>transition of gown style from the robe l'anglais to the high-waisted
>classical mode during the 1790's. If I recall correctly, the company that
>sold this pattern also sold one for Charlotte Bronte's wedding dress.
>
>Thanks for any help in locating the pattern and any sellers.
>
>Cindy Abel
>brujne@creighton.edu
>
>
>_______________________________________________
>h-costume mailing list
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>
>  
>

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WOW. And such great prices for a really decent pattern.
You really don't see that often. Site is incredibly easy to navigate too.

=============================
http://kristalori.com
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
> It was published by the Northern Society of Costume and Textiles and is 
> sold on their website:
> 
> http://www.nsct.org.uk/
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Ah, thank you. In the middle of the night I thought it might be 
'sallypainter', so I got up and turned on the computer --  but that URL 
didn't work so I went back to bed <sigh>.

Katie


>I found Ms Pointer's website addy. The page with that magnificent red dress
>is still there, too. I want that dress.
>http://www.geocities.com/sallypointer/



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Date: Thu, 13 May 2004 17:32:15 +0100
Subject: Re: [h-cost] Pre 1800s armpit protection
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It's thought now that this rotting is caused by eighteenth century 
dresses being worn as fancy dress in the nineteenth century. Pristine 
18th c dresses in PLatt Hall, for example, show no particular 
deterioration under the arms, where altered dresses or ones known to 
have been worn later do. Ribeiro, bless her, didn't update a lot of 
material when she revised the book for the later edition. (she also 
says that farthingales were stiffened with 'wood' in the Cambridge 
history of western textiles. I suppose this is technically true, but 
'willow' is a more accurate word, and wood conjurs up for me images of 
polygonal hoops of 2 x 4, creating a skirt shape kind of like a 
dalek.....)

> Hi.
> If some of you have read Ribeiros costume in 18th century Europe, you 
> also
> reads that the sleaves often rotted away long before the rest of the 
> dress,
> because of the sweatting.
>
> Bjarne
>
>
> ----- Original Message -----
> From: "michael tartaglio" <mikes@dandy.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, May 11, 2004 5:21 AM
> Subject: Re: [h-cost] Pre 1800s armpit protection
>
>
>> Hi, All. I do not believe that the gussetts mentioned in any way 
>> reflect
>> the need for replacement in the garment. They were a simple way of 
>> using
>> a geometric shape that followed the grainline of the fabric in such a
>> way as to give easement to the fit of the garment. To the contrary of
>> most beliefs about cleanliness of our ancestors, the singlet, or the
>> clothing closest to the body, was expected to be changed by people, at
>> least in polite society (this means not only nobility, but those 
>> trying
>> to emulate them, the petty bourgoisie). There is an English to French
>> manual, published at the end of the 16th/beginning of the 17th cent.
>> which mentions this... the book gives phrases in both languages, and 
>> has
>> the protagonist waking in the morning, and asking his mother/servant 
>> (?)
>> for a fresh shirt, stockings, etc. In addition, we also know that a
>> variety of whitewares (linens,  from bed, table and body) were 
>> regularly
>> washed due to an interesting artifact shown in " The Elizabethan
>> Household" by Lena Cowen Orlin. On pg. 54 is shown a Linen counter, 
>> made
>> of paper and brass, used to count laundry going out of the house. The
>> artifact is held in the Agecroft Hall collection in Richmond, Va. but
>> the text says that an identical one is at Haddon Hall in Derbyshire. 
>> The
>> categories of laundry are as follows; Bandes, cuffs, handkerchers,
>> Cappes, shirtes, halfshirtes, bootehose, Topps, sockes, sheetes,
>> Pillowbeeres, Tableclothes, Napkins and towells. The first category is
>> obscured by damage to the paper. The text along with the counter also
>> mentions John Taylor's "The Praise of Cleane Linnen..."  To conclude, 
>> I
>> do not believe that the construction method was in any way related to
>> the perspiration issue. Considering that many people have their doubts
>> as to whether men and women in the 16th/17th Cents. were wearing
>> netherbreeches, the armpit stains were probably the least of the
>> laundresses' worries  ;)    I just spent two days in my linen 17th 
>> cent.
>> shirt, worn with a linen-lined woolen doublet overtop in 75 degree
>> weather (Farenheit, for our European friends). I also wear linen 
>> cuthose
>> under knit woolen hose. Not to be too graphic, but the sweat wasn't
>> confined to my pits, which is good, 'cause the great thing about linen
>> is the wicking it does (warm in the winter and cool in the summer).
>> Don't worry, I usually change my linens, I was trying an experiment (I
>> even slept in it). Cheers, Mike T.
>>
>>
>>>
>>>
>>
>>
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>
>
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From h-costume-bounces@indra.com  Thu May 13 12:42:49 2004
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Date: Thu, 13 May 2004 12:23:58 -0400
From: Kitty Felton <basyefelton@floodcity.net>
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Subject: Re: [h-cost] Looking for pattern
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Oh I like that french revolution dress.   that's lovely.   

Lavolta Press wrote:
> 
> It was published by the Northern Society of Costume and Textiles and is
> sold on their website:
> 
> http://www.nsct.org.uk/
> 
> They also sell several other patterns, including one of Charlotte
> Bronte's going-away dress.
> 
> Fran
> Lavolta Press Books on Historic Costume
> http://www.lavoltapress.com
> 
> Cindy Abel wrote:
> 
> >I'm looking for a gown pattern I saw in an old Amazon Drygoods catalog
> >several years ago.(I long since lent the catalog to someone who couldn't
> >return it). It was a gown reportedly worn by a woman who escaped from France
> >into England during the French Revolution and is a good example of the
> >transition of gown style from the robe l'anglais to the high-waisted
> >classical mode during the 1790's. If I recall correctly, the company that
> >sold this pattern also sold one for Charlotte Bronte's wedding dress.
> >
> >Thanks for any help in locating the pattern and any sellers.
> >
> >Cindy Abel
> >brujne@creighton.edu
> >
> >
> >_______________________________________________
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> >
> >
> >
> >
> 
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Subject: Re: [h-cost] looking for Welsh costumer
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Here's the Red Dress Page:
http://www.sallypointer.com/reddress
Drool -- For me, it's the color -- and the fullness of the skirt.

Here's the fabric I hope to use -- a luscious berry-red:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3290703267&category=29821&sspagename=STRK%3AMEBWN%3AIT&rd=1
Will 7 yards be enough with lots of gores and no-nap layout?

I love Ms Pointer's Red Dress's color and the neckline, but don't like the 
way it fits on Ms Pointer -- it's a bit baggy in places. I'm thinking of 
using a multiple-gore design, such as:
http://www.personal.utulsa.edu/~marc-carlson/cloth/herjol38.html

Ya gotta unnerstand -- I have this thing about gores. My current project - 
a Kinsale Cloak, started with three panels with a 9 foot hem but has 
expanded to 7 gores and a 27 foot hem. Gores rule! Anyway, when the Kinsale 
Cloak is finished, I'll post the dress diary / construction log, the 
spreadsheet used to calculate the gore sizes, and the CAD drawings showing 
cutting layout and assembly on Katiesgarb.com (which doesn't exist yet).

Using something like Herjolfsnes #38 as a starting point, I should be able 
to get something that fits snuggly in the bodice but flows gracefully in 
the skirt, like the servant woman descending the stairs at the left:
http://www.kfki.hu/~arthp/html/u/uccello/2prato/03prato.html

Can you tell that I like red dresses <laughs at self>?

Under it, I want to wear a corded corset for support and shaping, as 
described here:
http://homepage.mac.com/festive_attyre/research/cording/cord.html

But before this project I have to finish the Kinsale Cloak and I promised 
My Lord Husband that I'd make myself some mundane clothes so that I don't 
embarrass him in public. Garb is soooo much more fun than mundane clothes ...

Heck, I'll just wear the Berry Red Dress as mundane clothes, and if anybody 
wants to stare, let 'em! ,,, With some red-stoned chandelier earrings, too. 
Hey, I'm going on 60 and intend to *enjoy* my second childhood -- 
especially my second teen years ... <giggles>

Katie


>I found Ms Pointer's website addy. The page with that magnificent red dress
>is still there, too. I want that dress.
>http://www.geocities.com/sallypointer/
>Dianne



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I'm assuming that gores will resolve the problems that you describe, no?

Hmm, toes-peaking-out length in front with a slight train in back, 
something like some of the regency gowns had? Oh, oh! I'm daydreaming again!

Katie


>  I made a couple from this pattern before finding out about center gores; 
> all that fabric at the side seam tends to stay right there: at the side 
> seam, rather than distributing around properly.  And if you want the 
> floor-length-or-longer look, the wings of fabric at the side trail 
> straight back as you walk, so you look rather like you have on a tube 
> skirt with fullness behind.
>Cynthia Virtue



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E House wrote:

> I should probably rephrase--does anyone know how it
> was done c1660-65? Was
> it done the same way? That process doesn't sound
> technologically out of
> reach for c1660, but it wouldn't surprise me if the
> process started out,
> well, less complicated...?
> 
> -E (planning to duplicate that pink corset at the
> V&A, and if that baleen
> thing happens...!!)

Luca Mola's history of the Italian silk industry has a
complete description of how watered silks were
produced, including (IIRC) a wood-cut of the process.

Basically, it's an added step at the end of the
calendaring process, where the cloth is run between a
set of heated rollers that have a "watermark" pattern
etched into them, transferring the pattern to the
cloth.

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: [h-cost] Re: red dress
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> 
> Cynthia wrote:

>> 
>> http://www.geocities.com/sallypointer/
> 
> Thanks for posting that!
> 
> The cutting diagram for the red dress is nearly the same as for one I
> have from a Victorian costume book; costume minds think alike, I guess.
> 
> I made a couple from this pattern before finding out about center
> gores; all that fabric at the side seam tends to stay right there: at
> the side seam, rather than distributing around properly.  And if you
> want the floor-length-or-longer look, the wings of fabric at the side
> trail straight back as you walk, so you look rather like you have on a
> tube skirt with fullness behind.

I second Cynthia's diagnosis -- huge side gores stay at the sides. That
doesn't mean they look bad, but they DO stay at the sides. Sally Pointer's
web site also has a pattern for a dress with four smaller gores, and if you
follow that you will get a skirt that's evenly distributed.

I make my gowns very much like this pattern. It's more complicated than the
red dress pattern, but it fits better. The four-piece body allows a lot of
fitting, and makes setting the center gores easy. My "good" gowns are VERY
fitted, and have set-in sleeves. I am curvy, so I interline the bodices so
that they are tight enough. But I have made some "work" dresses, much like
Sally's, with rectangular sleeves made to fit with the little underarm
gores. It's all straight line sewing, except for a little fitting on all
four body seams, and the look is very good. Something about the gored skirt
and the non-set-in sleeves makes a very "non-modern" impression. I would
recommend trying this, even for people who are nervous about sewing without
a pattern. It's very simple.

But either way, you don't waste a lot of fabric.

Gail Finke


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> 
> Cynthia wrote:

>> 
>> http://www.geocities.com/sallypointer/
> 
> Thanks for posting that!
> 
> The cutting diagram for the red dress is nearly the same as for one I
> have from a Victorian costume book; costume minds think alike, I guess.
> 
> I made a couple from this pattern before finding out about center
> gores; all that fabric at the side seam tends to stay right there: at
> the side seam, rather than distributing around properly.  And if you
> want the floor-length-or-longer look, the wings of fabric at the side
> trail straight back as you walk, so you look rather like you have on a
> tube skirt with fullness behind.

I second Cynthia's diagnosis -- huge side gores stay at the sides. That
doesn't mean they look bad, but they DO stay at the sides. Sally Pointer's
web site also has a pattern for a dress with four smaller gores, and if you
follow that you will get a skirt that's evenly distributed.

I make my gowns very much like this pattern. It's more complicated than the
red dress pattern, but it fits better. The four-piece body allows a lot of
fitting, and makes setting the center gores easy. My "good" gowns are VERY
fitted, and have set-in sleeves. I am curvy, so I interline the bodices so
that they are tight enough. But I have made some "work" dresses, much like
Sally's, with rectangular sleeves made to fit with the little underarm
gores. It's all straight line sewing, except for a little fitting on all
four body seams, and the look is very good. Something about the gored skirt
and the non-set-in sleeves makes a very "non-modern" impression. I would
recommend trying this, even for people who are nervous about sewing without
a pattern. It's very simple.

But either way, you don't waste a lot of fabric.

Gail Finke


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Subject: Re: [h-cost] looking for Welsh costumer
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--- Katie Pleasance <Katie@katiesorchids.com> wrote:

> I'm thinking of 
> using a multiple-gore design, such as:
>
http://www.personal.utulsa.edu/~marc-carlson/cloth/herjol38.html
> 

> 
> Using something like Herjolfsnes #38 as a starting
> point, I should be able 
> to get something that fits snuggly in the bodice but
> flows gracefully in 
> the skirt, like the servant woman descending the
> stairs at the left:

Not to rain on your parade, but, as it says in the
article on the page you referenced, "Based on the
measurements above and observations made by Robin
Netherton, and work done with mock-ups, this item is
clearly not a "cote-hardi" of any kind, it is not
closely fitted.   Netherton also stipulates that
Norlund's drawings are not consistent with his written
measurements and are most likely inaccurate, and so
should be used cautiously. She adds that later
authors' re-interpretations of those drawings appear
to be increasingly removed in accuracy from the
original. (That observation, I should note, also
applies to the drawing above.)"

Robin Netherton describes a method that will give you
that wonderfully fitted look, but it does not depend
on multiple side gores.  Unfortunately, I don't have
the time right now to do justice to trying to explain
it.

Also, 
> 
> Under it, I want to wear a corded corset for support
> and shaping, as 
> described here:
>
http://homepage.mac.com/festive_attyre/research/cording/cord.html
> 

The author of this page clearly is aiming her method
at later time periods, like 16th century.  I am
inclined to agree with the school of thought that says
the dresses you are aiming for were not worn with
corsets.  (But of course, we have no direct evidence.)

Good luck with your project!
-Angela


	
		
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From: "Cat Devereaux" <CatDevereaux@alleycatscratch.com>
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Subject: [h-cost] Re: watered silk taffeta
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> I should probably rephrase--does anyone know how it
> was done c1660-65? Was
> it done the same way? That process doesn't sound technologically out 
> of reach for c1660, but it wouldn't surprise me if the
> process started out,
> well, less complicated...?

I remember the explanation from one of the docents at the LA Country
Museum when they had their 18th century clothing display. This was 15+
years ago. However, not sure if it's accurate or an old wives tale as so
many of the older "true" docent stories are.

He said that the watered silk was created by wetting down the silk.
Folding it into the small panels (3-6 inches) putting this carefully
between boards and letting the whole thing dry in the sun for a week.  

-Cat-


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<http://www.whitchurchsilkmill.org.uk/weaving.html>

According to their website, they weave to order.

"Finishing - as required by our customers, very often this includes a 
traditional moiré (a wavy watermark finish).

For more information contact the General Manager on 
silkmill@btinternet.com"

I've never ordered from them, but a quick Google search found this 
<http://www.allfiberarts.com/library/aa04/aa031404.htm> which got me to 
the mill.

Expensive I'm sure, but if you really, really want it, you can get it.

-Christina

----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 13, 2004 3:49 PM
Subject: [h-cost] watered silk taffeta


Has anyone ever found a source for 100% silk moire (watered) taffeta?
And how exactly was it made, anyway, in case I can't ever find the
stuff--does one just put water spots in the right pattern, or is it more
complicated than that?

-E

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Subject: RE: [h-cost] 15th century Southern Italian or Portugese upper
Date: Thu, 13 May 2004 11:34:42 -0700
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> > Any of you costumers reading this know of any good picture 
> sources for 
> > late 15th century (1480ish) Southern -Italian or Portugese ladies 
> > (upper class) gowns? Someone will be calling me to discuss 
> it sometime 
> > soon so I'm hoping you can save me a search. Thanks in advance!

Try _Hispanic Costume: 1480-1530_ by Ruth M. Anderson. This doesn't cover any Italian, but it does cover Portuguese. And, even better, the book is back in print! It's worth twice the price Amazon is asking for (in my opinion :-) ). One of those books that I wish I'd written :-). There's not a lot of color photos, but lots of black-and-white and detail shots. It does in-depth photo-research from the undergarments through sleeves and hairstyles. There are no existent garments for this time/place, so all of the pictures are paintings or engravings.
	-sunny

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Date: Thu, 13 May 2004 11:50:26 -0700
To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
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Subject: [h-cost] Red Dress
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I appreciate your post regarding historical accuracy.

In this project I am not concerned with historical accuracy, but with 
creating a pretty dress. I think that the use of multiple gores and the 
corded corset will help me achieve that goal. The Herjolfsnes #38 or 
similar would be, as indicated in my post, a starting point and nothing 
more. I will also be looking at other multiple-gore gowns for inspiration. 
I mentioned Herjolfsnes #38 merely because it is an example of a gown with 
many full-length gores.

Katie

> > I'm thinking of
> > using a multiple-gore design, such as:
>http://www.personal.utulsa.edu/~marc-carlson/cloth/herjol38.html
> > Using something like Herjolfsnes #38 as a starting
> > point, I should be able
> > to get something that fits snuggly in the bodice but
> > flows gracefully in
> > the skirt, like the servant woman descending the
> > stairs at the left:
>
>Not to rain on your parade, but, as it says in the
>article on the page you referenced, "Based on the
>measurements above and observations made by Robin
>Netherton, and work done with mock-ups, this item is
>clearly not a "cote-hardi" of any kind, it is not
>closely fitted.   Netherton also stipulates that
>Norlund's drawings are not consistent with his written
>measurements and are most likely inaccurate, and so
>should be used cautiously. She adds that later
>authors' re-interpretations of those drawings appear
>to be increasingly removed in accuracy from the
>original. (That observation, I should note, also
>applies to the drawing above.)"
>
>Robin Netherton describes a method that will give you
>that wonderfully fitted look, but it does not depend
>on multiple side gores.  Unfortunately, I don't have
>the time right now to do justice to trying to explain
>it.
>
>http://homepage.mac.com/festive_attyre/research/cording/cord.html
>The author of this page clearly is aiming her method
>at later time periods, like 16th century.  I am
>inclined to agree with the school of thought that says
>the dresses you are aiming for were not worn with
>corsets.  (But of course, we have no direct evidence.)
>
>Good luck with your project!
>-Angela



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Does anybody know of a website that has a list of medieval / Renaissance 
garments annotated with the distinguishing characteristics of each? I'm 
still new enough that if you showed me a biaut and a cotehardie, I wouldn't 
be able to say which is which.

Thanks,
Katie


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Subject: [h-cost] Fw: FABRIC.COM: Linen on Sale, Ambiance Lining
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Hi everyone!  I don't remember where I read this, but someone was looking to buy some linen...one of my favorite web-based fabric sources has a sale going on right now.  

Emer \ Gia
back to lurking mode
----- Original Message ----- 
From: Stephen Friedman 
To: gia_gavino@comcast.net 
Sent: Thursday, May 13, 2004 11:10 AM
Subject: FABRIC.COM: Linen on Sale, Ambiance Lining


 2151 Northwest Parkway Ste. 500
      Marietta, GA 30067
      1-888-455-2940
      
      www.fabric.com 

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      Greetings from Atlanta! Stephen is away on a mini vacation, so I get to tell you about all the terrific things we have for you today! The first thing I need to tell you is the Timtex is back in stock! And, another shipment is on the way! We know this is a very popular item. We are trying to be more consistant in keeping it in stock for you. 
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     A Real Deal
      I am so excited that Linen Season is finally here! I live in linen as many months out of the year as possible. When Stephen asked me what I thought the next Real Deal Sale should be, I said ''Linen, of course!'' So, here it is! We have taken 20% off all our apparel linen. These prices are good through Thursday, May 20th. We have a terrific selection of linen blends, 100% linens, embroidered and stretch linen, so dig in!
      Click here to go to this item.  
     Ambiance Bemberg Lining
      We have been finding couturier fabrics for you for a few years now. We are pleased to offer you a couturier lining to go with them. The Ambiance Bemberg Lining is a cupro rayon. It's a very smooth, anti-static lining that has moisture absorption and release properties. Line your jackets, trousers, skirts and dresses with Ambiance for exceptional comfort and an even better fit. It's 100% rayon, 45'' wide and $6.95 a yard.
      Click here to go to this item.  
     Promotional Dupioni Silk
      We have just added some juicy colors to the Promotional Dupioni Silk sections. We have Peacock Green, Cobalt Blue, Ivories and Creams, all the colors you love at our exceptional price. They are 100% silk, 54'' wide and $9.95 a yard.
      Click here to go to this item.  
     Happy Hippiez Flannel
      The colors and patterns in this flannel coordinate group are happy indeed. This single napped designer flannel (brushed on the face only) is perfect for quilting or pajamas. It's 100% cotton, 45'' wide and $4.35 a yard. We even have an assortment of 25 half-yard pieces for those who need a lot of color!
      Click here to go to this item.  
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      This colorful coordinating group includes stripes, checks, cute patches and a print with childern all over. They are 100% cotton, 45'' wide and $4.35 a yard. We also have a half-yard assortment available for this group.
      Click here to go to this item.  
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      This nostalgic coordinate group features earthtones and ''muddy'' colors with a countryside theme. They are 100% cotton, 45'' wide and $4.35 a yard. We have created a half-yard assortmnet that includes all the prints, too.
      Click here to go to this item.  
     Jacquard Symphonic
      This is another installment in our fabulous new re-orderable home decorating Jacquards. This group features swirling scrolls, florals and a diamond check that come in Black, Cinnabar red and a beautiful taupe color called Stone. These are multi-purpose fabrics that will be great for upholstery as well as drapes, duvets and pillows. Try mixing them with the Jacquard Raphael group! They are 50% cotton/50% polyester, 54'' wide and $9.95 a yard. Handbag designers take note!
      Click here to go to this item.  
     Home Decorating Yardage Estimators
      We have just added a new feature to our web site in the Home Decorating Section. We have created a section for yardage charts and estimators for upholstering, drapes and much more. We hope this tool helps you make your decisions about your home decor projects easier!
      Click here to go to this item.  
     On Line Sewing Classes
      Our friends at Patternreview.com have added some exciting new classes I wanted to tell you about! For those of you who are intrigued with drafting your own patterns, but have little or no experience, we have the classes for you. Drafting & Styling Skirts and Drafting & Stying Sleeves will help you add your own flair to your garmants. PatternReview.com will be adding new clases in the next week as well, so please check back with us.
      Click here to go to this item.  

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Date: Thu, 13 May 2004 12:13:30 -0700 (PDT)
From: Angela Kessler <ivyharpdotcom@yahoo.com>
Subject: Re: [h-cost] Red Dress
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--- Katie Pleasance <Katie@katiesorchids.com> wrote:
> 
> In this project I am not concerned with historical
> accuracy, but with 
> creating a pretty dress. 

In that case, have fun! :)

-Angela

P.S. Speaking of non-historical accuracy, I have to
crow that I just finished a reversible wedding gown,
and it seems to have turned out extremely functional! 
The wedding is not for a couple of weeks, so I am
eagerly awaiting reports of whether there will be any
perspiration damage to the fabric on the inside of the
bodice when it gets switched to the outside, but I
warned my client that that might happen.


	
		
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Subject: Re: [h-cost] looking for Welsh costumer
Date: Thu, 13 May 2004 14:23:52 -0500
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But a fitted version of H-38 makes a wonderfully fun modern dress, anyway.
This site:
http://www.damehelen.com does a good job of showing you how to cut one. For
a gown of similar cut (see below) with ~5 yds hem and fitted sleeves, I
generally need ~3.5 yds of 60" fabric (size 10-12 tall); 7 yards would give
you a very nice amount of hem.

And while H-38 isn't a fitted dress and wasn't meant to be more than
slightly shaped, there is a similar cut that was used later in the 15th
century. Picture H-38; now picture a center back seam in the back panel, and
the two sides of that back panel reeeallly skinny at the waist--like 1"-2".
The side panels become wider at the waist; the front panel is also cut
narrower at the waist. The front-side seam follows a curve similar to that
of a Dame Helen-style fitted H-38, but is, well, curvier. It falls down the
side of the bust (an inch or two forward of where the underwire of a bra
would be) then, just below the bust, it follows that imaginary underwire
towards the center front for another inch or two, then gently curves
straight down. (This oddly curvy line actually makes great structural sense;
by cutting it like this, the underbust curve of the front panel becomes much
more gradual, which means that the underbust pull required for a
self-supporting gown isn't concentrated on one tiny spot along that
side-front seam.) This style is more likely to have fewer than 4 gores on
either side (generally 3 or 2, as in the Fouquet painting*) but may have as
many as 5 in some paintings.

That image that I mentioned in the Flemish book thread? Shows a good view of
the back of this style of dress, even at low resolution, although for
documentation purposes that painting is a bit problematic. If anyone is
interested in several images of this style of dress, email me off-list
...and expect to fail to get an answer for at least a week, since I have 47
projects I'm going back and forth between and it'll take me a while to sort
through the images.

-E
(The Fouquet painting shows a version of the style I'm talking about, but it
is unusual in how close to the erm, point of the bust that side-front seam
goes. In that painting, the seam is still to the outside of the point of the
bust by at least an inch, which for comfort's sake is very important in a
self-supporting gown--can we say chafing?--but is several inches inwards of
the norm for this style. It's possible that if the gown were laced, and
everything were shoved back in place rather than hanging out in her armpits,
the seam would fall along more normal lines.)

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Oooh, that would be great. Although, a 25 metre minimum order could indeed
be painful! Maybe I should shop around for a nice mangle. =}

-E

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Subject: Re: [h-cost] looking for Welsh costumer
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>YES!!! That's what I was going for:

http://www.damehelen.com/cotes/index.html and
http://www.damehelen.com/cotes/patterns.html

She even uses H38 as an inspiration ...

My goal is to work *towards* documentable accuracy. In the meanwhile, I'm 
very much a beginner in this historical costuming game and am working 
towards accuracy while creating a garment that is pretty enough that I will 
enjoy making it and wearing it. At this point, absolute  accuracy would 
just make me freeze with fear of doing it wrong -- If I acknowledge that 
I'm probably doing some of it wrong but getting bette, that fear of 
required-perfection evaporates.

Katie


>This site:
>http://www.damehelen.com



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Date: Thu, 13 May 2004 12:27:49 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Interesting on ebay
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>Penny, you are completely *evil* (in a very nice way, of course!)

I was drooling too, till I realized he was chopping up intact books to get
these pages.

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

             //// \\\
            ////-@@\\\
           ((((   7 )))
            (((  <> ))))
               )   ((((((
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Date: Thu, 13 May 2004 17:07:02 -0700
Subject: Re: "Sepia Dress" (WAS: RE: [h-cost] photo)
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You know, I wondered at first if the trim was some sort of crochet or
knit, and I"ll have to try to magnify it more and see what it looks like.
 I initially wanted to MAKE the trim, but now I"m worried that just
designing it correctly will have going for hundreds of hours.

On the positive side, my mom has come up with some old audiotapes and
transcriptions that give me a bit of insight intot he character of the
woman who wore it.

Yours in costuming, Lisa A.

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Thanks Carolyn!  Now that I know I don't have to even think about
crocheting so much trim.  I don't think it was beaded though, because the
sparkle from the beads isn't there...I really think it was just braided
trim.

And I"ll need at least 100 yards of it...

Yours in costuming, Lisa A.

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Speaking of undergarments, what would those from the 1890's Eastern
Europe be made of?  I.e., bloomers, shift?

Linen or cotton, or some combination?

Also, the petticoats, linen or some sort of twill?

Yours in costuming, Lisa A.

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To: Historical Costume <h-costume@indra.com>
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>Thanks Carolyn!  Now that I know I don't have to even think about
>crocheting so much trim.  I don't think it was beaded though, because the
>sparkle from the beads isn't there...I really think it was just braided
>trim.

They're made the same way, but one is beaded and the other isn't.  E-bay
often has the beaded kind, and the best sellers show the backs of the
pieces, so you can see how they were made.

BTW, the Dover reprint of Weldon's crochet book, called something like
Victorian Crochet, does have 1880s crochet dress trim.  Crochet can do
things that braid can't, and vice versa, so crocheted trim looks different
than braid trim does.  I can spot crochet, and knitting, because I do both.
 A friend of mine does tatting, so I can spot that too.  And I think I'm
getting pretty good at spotting the machine copies of these in the images
on e-bay, whether or not the vendors know what they have.

>And I"ll need at least 100 yards of it...

Soutache comes 280 yards to a roll from CheepTrims, in a single piece
instead of three yards to a card from Wright, in a fabric store.

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

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Hi,

I am sorry that it didn't work out the way you want it.
I am working on a corset from this pattern
http://www.costumes.org/HISTORY/leloir/vol10/52_1715stays.jpg
It looks like it is going to fit me.
Hopefully I wil have pictures by the end of this day or tomorrow.
Maby you could use it too.

Greetings,
        Deredere

Bjarne og Leif Drews wrote:

>Hi,
>Here i send you a link for one of my works in vain. This hard work i have to discharge. The neckline is two horisontal and should have ben much rounder. I think my dress stand has two broad shoulders, i dont know but several days of work is done in vain. grrrrrrrrrrrrrrrrrrrrrrr.
>http://www.my-drewscostumes.dk/sophiabodice.htm
>Well i think also that the waistline is two low, many things are wrong. I want it to be perfect this time for the museum, so back to work...............
>
>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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Bjarne, I am curious...will they make a special stand for your gown to
display at the museum?  If so, would it be better to choose or make a form
that doesn't have the broad shoulders you don't care for?

Sg

> Bjarne og Leif Drews wrote:
> 
> >Hi,
> >Here i send you a link for one of my works in vain. This hard work i have
to
> discharge. The neckline is two horisontal and should have ben much
rounder. I
> think my dress stand has two broad shoulders, i dont know but several days
of
> work is done in vain. grrrrrrrrrrrrrrrrrrrrrrr.
> >http://www.my-drewscostumes.dk/sophiabodice.htm
> >Well i think also that the waistline is two low, many things are wrong. I
want it to
> be perfect this time for the museum, so back to work...............


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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] boned bodice foundation 1766
Date: Fri, 14 May 2004 06:03:10 -0700
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Hi Deredrere and Bjarne...do either of you know what the ''s'y'' conjunction
in decription #10 means?  So does that mean the boning goes around the
neckline and is connected to the top of the busc at B?

-----Original Message-----
> Behalf Of Deredere Galbraith
> Subject: Re: [h-cost] boned bodice foundation 1766
> 
> http://www.costumes.org/HISTORY/leloir/vol10/52_1715stays.jpg

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I was wondering about that to.
It looks like you can be right.
I have a few pictures of 18th century corsets but none of them seems to 
have a busk.
Unfortionally I know very little of this period.

Greetings,
        Deredere

Saragrace T. Knauf wrote:

>Hi Deredrere and Bjarne...do either of you know what the ''s'y'' conjunction
>in decription #10 means?  So does that mean the boning goes around the
>neckline and is connected to the top of the busc at B?
>
>-----Original Message-----
>  
>
>>Behalf Of Deredere Galbraith
>>Subject: Re: [h-cost] boned bodice foundation 1766
>>
>>http://www.costumes.org/HISTORY/leloir/vol10/52_1715stays.jpg
>>    
>>
>
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Hi,

I still have to finish the bottom of the corset and the straps but I am 
happy with how it looks.
The lining of a robe a la francaise fits over it quite well.
I have J. P. Rians pattern, I want the front of the bodice to be 
sepperate from the skirt.
And I like it when the front of the dress almost meet.
So, I will have to change the pattern a bit.
http://www.deredere.dds.nl/Pirates/Elisabeth/Elisabeth.html

Greetings,
        Deredere


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Date: Fri, 14 May 2004 13:07:01 -0700
To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: [h-cost] Pictures of my 18th century corset
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Hark! Are those bra straps I espy? Theoretically, the corset would be more 
comfortable without the bra, right?

Katie


>http://www.deredere.dds.nl/Pirates/Elisabeth/Elisabeth.html
>        Deredere



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Subject: RE: [h-cost] Pictures of my 18th century corset
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Looks like a shift to me.

Ron Carnegie

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Katie Pleasance
> Sent: Friday, May 14, 2004 3:07 PM
> To: Historical Costume
> Subject: [h-cost] Pictures of my 18th century corset
> 
> 
> Hark! Are those bra straps I espy? Theoretically, the corset 
> would be more 
> comfortable without the bra, right?
> 
> Katie
> 
> 
> >http://www.deredere.dds.nl/Pirates/Elisabeth/Elisabeth.html
> >        Deredere
> 
> 
> 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] boned bodice foundation 1766
Date: Sat, 15 May 2004 00:44:40 +0200
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Dear Saragrace,
Sorry i have not answered all day but i have ben glaring on my tv for 7
hours looking at the royal danish wedding.
Never have i seen more duchesse dresses in my life than today.
The nr. 10 is the horisontal bone wich goes round the neckline. nr. 9 shows
it as seen from above and nr. 10 shows it in the front.
It was funny that you mentioned this corset, as it is this i will use as
foundation in my bodice. I have made the pattern ready to be cut
tomorrow.Mostly because the skirt is going to be pushed up on the tabs, and
lye under the busk point. It is essential that the skirt can be pushed up to
almost waistlevel in the front because it would fall down if the curve was
two high. Dont know if i explain it right I also would get some problems
with the pannier. I dont think the bodice should be on top of the pannier,
it would push the pannier down and then the angle of the skirt would not be
right. It should go out in the waist in a degree of 90.  If the curve in the
front busk is two high, the pannier would not be able to push up into waist
level.
This corset has a very high split from the busk to the tabs, and this split
is ideal for my skirt to pass.
So i am going to discharge the pattern of the swedish weddingdress.
Princess Mary was so beautifull today. Her wedding dress material was a gift
from the owners of that fabric store where i got my duchesse satin for the
weddingsuit of Gustav III. It was ivory  duchesse satin and she wore the old
antique Carickmacros Veil that our old queen Ingrid had taken to Denmark
from Sweden. Her Tiara wich she wore last night for a ball was a Tiara that
had ben worn to the Coronation of Napoleon in 1804. I am sure you have had
some glims of it in the news world round. It was a very nice and romantic
wedding. Our crownprince Frederik was touched to tears in the church.

Bjarne

----- Original Message ----- 
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Friday, May 14, 2004 3:03 PM
Subject: RE: [h-cost] boned bodice foundation 1766


> Hi Deredrere and Bjarne...do either of you know what the ''s'y''
conjunction
> in decription #10 means?  So does that mean the boning goes around the
> neckline and is connected to the top of the busc at B?
>
> -----Original Message-----
> > Behalf Of Deredere Galbraith
> > Subject: Re: [h-cost] boned bodice foundation 1766
> >
> > http://www.costumes.org/HISTORY/leloir/vol10/52_1715stays.jpg
>
> _______________________________________________
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From h-costume-bounces@indra.com  Fri May 14 19:10:24 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <40A520CE.9010609@kabelfoon.nl>
Subject: Re: [h-cost] Pictures of my 18th century corset
Date: Sat, 15 May 2004 01:07:46 +0200
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Hi Deredere
I hope not that you will think that i stole that idea to make that corset,
But actually i desided to try and use this and then alter the shoulderstraps
so that they come out longer on the shoulder. It is a fantastic good pattern
and i am amazed how well a modern woman will be able to adapt it. Especially
i liked that the front busk point is splitted from the waisttabs much higher
up than usually stays from this period. My skirt must lie under the
buskpoint and go over the tabs, so this is very well. It is the same method
they used in the 1660 ies where the skirt does the same thing.
I have also noticed on my portrait, that i can se the line of the skirt
behind. If the center back long lacing piece also should go outside the
skirt, i would have noticed this curve in the behind shadow of the
skirtline. But no it is not seen, so i dont think the center back goes
outside the courttrain.
I have wondering a lot how this courttrain would have ben cut. It is this
courtrain i took for a padded roll lying on top of the skirt. There is not a
single pleat nor any gathering wrinkles to see in the front of the train. I
will have to make a lot of experimentation with this.

Bjarne
----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 14, 2004 9:41 PM
Subject: [h-cost] Pictures of my 18th century corset


> Hi,
>
> I still have to finish the bottom of the corset and the straps but I am
> happy with how it looks.
> The lining of a robe a la francaise fits over it quite well.
> I have J. P. Rians pattern, I want the front of the bodice to be
> sepperate from the skirt.
> And I like it when the front of the dress almost meet.
> So, I will have to change the pattern a bit.
> http://www.deredere.dds.nl/Pirates/Elisabeth/Elisabeth.html
>
> Greetings,
>         Deredere
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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*That's* despicable!
--sue

Carolyn Kayta Barrows wrote:
>>Penny, you are completely *evil* (in a very nice way, of course!)
> 
> 
> I was drooling too, till I realized he was chopping up intact books to get
> these pages.

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Bjarne og Leif Drews wrote:

>Dear Saragrace,
>Sorry i have not answered all day but i have ben glaring on my tv for 7
>hours looking at the royal danish wedding.
>  
>
Bjarne, you have seen this already, right?

http://kongehuset.dk/artikel.php?id=61054

liz young

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Subject: [h-cost] Boning
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Hello again. I am learning so much here.  I am working on a 1850's dress and
underthings.  So far I have the dress done. And the chemise.  Now I am
working on a corset,a nd drawers and hoop skirt.  

 

On the corset ( which I should have done first I now know) it calls for
boning.  I bought what was available to me a nd that was plastic boning
encased in material .  In the pattern directions, it calls for twill tape to
make the casing.  Which I purchased bias binding.  My question is can I used
the encased boning as is and skip the bias tape? 

 

I did send away to farthingales for the Busk.  Since no one around here had
a clue as to what that was. Hehehe. 

 

Any help would be appreciated.  I have enjoyed working with garment
construction again after many years of sewing quilts only.  I have even
learned some things I had feared to learn like flat felled seams. ( not so
hard) and french seams.  I have also learned that hand basting is a good
thing!

 

I made the dress of linen, and never gave it a thought to pre wash my
fabric.  I am not a pre washer for quilt fabric unless it is hand dyed.  I
recently read a tip to was linen at least 2 times.  OOOPS.   We should all
hope that June 12 and 13 are not so hot that I sweat and shrink in dress!

Terese

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Subject: Re: [h-cost] Boning
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In a message dated 5/14/04 8:22:21 PM Central Daylight Time, tnt1@triton.net 
writes:
On the corset ( which I should have done first I now know) it calls for
boning.  I bought what was available to me a nd that was plastic boning
encased in material .  In the pattern directions, it calls for twill tape to
make the casing.  Which I purchased bias binding.  My question is can I used
the encased boning as is and skip the bias tape? 


If the boning came rolled up in a little plastic package from the fabric 
store, then my personal advice would be to throw it out immediately.  It sounds 
like what you have is the boning that is made for modern formals, and from a 
historical costuming perspective, it's worthless for anything except for fishing 
fallen items out from behind your sewing table.  it just doesn't provide much 
support or hold up well in costuming, much less in a corset.

There is a polyester boning called "Rigilene" which also isn't ideal, but 
will work much better than the stuff that comes in the fabric casing.  You can 
purchase that at most fabric stores like JoAnn's and Hancock's, so you should be 
able to get it quickly and easily (hopefully!).  But for a corset to really 
work as they were intended to, you want to eventually replace that with steel.  

The good news is that in the 1850's, corsets in general were *slightly* less 
heavily boned than the previous decade, so if you are not looking for a ton of 
support or cinching, you can get away with using Rigilene (lots of it) or 
steel (not too terribly much).  

A couple of good sources for boning:

www.granndgarb.com
www.alteryears.com
www.milliners.com (Rigilene by the roll, MUCH cheaper than it is in stores)

-Tiffany
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Date: Sat, 15 May 2004 09:06:40 +0200
From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: Re: [h-cost] Pictures of my 18th century corset
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Bjarne og Leif Drews wrote:

>Hi Deredere
>I hope not that you will think that i stole that idea to make that corset,
>
No I don't.
It is a very nice pattern and I encurage peolple to use it. I think it 
works very well.

>But actually i desided to try and use this and then alter the shoulderstraps
>so that they come out longer on the shoulder.
>
That is better for later dresse I think. I fhirst made a mistake and 
pinned the wrong strap to the wrong side.
They were to close to my neck, but when I changed them they were more to 
the end of my schoulders.
But If you want a wider neckline the straps are to close to eachother in 
the back.
But they make the neckline nice and round this way.
But if you reenforce the top of the corset so it stands round by itself 
the straps won't have to pul it in right shape.

> It is a fantastic good pattern
>and i am amazed how well a modern woman will be able to adapt it.
>
Yep. I was supprised that by only blowing the pattern up it fitted me 
perfectly.
Mostly I just take one mesuerment like how long the corset schould be 
from my armpit to my waist and
enlarge the pattern until  it meets that mesurement. And somehow it works...

> Especially
>i liked that the front busk point is splitted from the waisttabs much higher
>up than usually stays from this period. My skirt must lie under the
>buskpoint and go over the tabs, so this is very well. It is the same method
>they used in the 1660 ies where the skirt does the same thing.
>I have also noticed on my portrait, that i can se the line of the skirt
>behind. If the center back long lacing piece also should go outside the
>skirt, i would have noticed this curve in the behind shadow of the
>skirtline. But no it is not seen, so i dont think the center back goes
>outside the courttrain.
>I have wondering a lot how this courttrain would have ben cut. It is this
>courtrain i took for a padded roll lying on top of the skirt. There is not a
>single pleat nor any gathering wrinkles to see in the front of the train. I
>will have to make a lot of experimentation with this.
>
This sounds very interesting.
Good luck with al your work.

Deredere

>
>Bjarne
>----- Original Message ----- 
>From: "Deredere Galbraith" <triade@kabelfoon.nl>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Friday, May 14, 2004 9:41 PM
>Subject: [h-cost] Pictures of my 18th century corset
>
>
>  
>
>>Hi,
>>
>>I still have to finish the bottom of the corset and the straps but I am
>>happy with how it looks.
>>The lining of a robe a la francaise fits over it quite well.
>>I have J. P. Rians pattern, I want the front of the bodice to be
>>sepperate from the skirt.
>>And I like it when the front of the dress almost meet.
>>So, I will have to change the pattern a bit.
>>http://www.deredere.dds.nl/Pirates/Elisabeth/Elisabeth.html
>>
>>Greetings,
>>        Deredere
>>
>>
>>_______________________________________________
>>h-costume mailing list
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>>
>>    
>>
>
>
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>
>  
>

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Subject: RE: [h-cost] Boning
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> On the corset ( which I should have done first I now know) it calls for
> boning.  I bought what was available to me a nd that was plastic boning
> encased in material .  In the pattern directions, it calls for twill tape
to
> make the casing.  Which I purchased bias binding.  My question is can I
used
> the encased boning as is and skip the bias tape?
[Sg] Sure can!  It may be a little tricky, but you should be able to sew the
casings (with the bones in) directly to your fabric with a zig zag stitch or
even a zipper foot.  Keeping them straight may be a challenge, but you can
pin them too.   

Sg


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 My question is can I used
> the encased boning as is and skip the bias tape?
If you use the tape it came in now, you can replace the plastic with steel
or spirals later -- just open the end, slide out the plastic and slide in
the steel.

> There is a polyester boning called "Rigilene" which also isn't ideal, but
> will work much better than the stuff that comes in the fabric casing.  You
can
> purchase that at most fabric stores like JoAnn's and Hancock's, so you
should be
> able to get it quickly and easily (hopefully!).  But for a corset to
really
> work as they were intended to, you want to eventually replace that with
steel.

If you use Rigilene, you have to 'candle' the ends (melt them a little) or
the individual poly rods will eventually poke thru and poke you. Also -- 
don't try to pull the corset too tight (as one of my actresses did) - the
Rigilene will develope a crimp that is impossible to straighten out.  One
good thing about Rigilene is that you can just sew it on with no casing and
then later (if you've been careful to just catch both edges) use it as the
casing for a steel.  By the way, steels are thinner than the plastic boning
you have.
 Also try Greenberg & Hammer in NY -- very fast shipping.

Kate Pinner
*************
> A couple of good sources for boning:
>
> www.granndgarb.com
> www.alteryears.com
> www.milliners.com (Rigilene by the roll, MUCH cheaper than it is in
stores)
>
>


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Subject: Re: [h-cost] Boning
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Also you can gentle iron and steam them to get the curl out (same with
Rigilene if you use it)
KMP

>
> > On the corset ( which I should have done first I now know) it calls for
> > boning.  I bought what was available to me a nd that was plastic boning
> > encased in material .  In the pattern directions, it calls for twill
tape
> to
> > make the casing.  Which I purchased bias binding.  My question is can I
> used
> > the encased boning as is and skip the bias tape?
> [Sg] Sure can!  It may be a little tricky, but you should be able to sew
the
> casings (with the bones in) directly to your fabric with a zig zag stitch
or
> even a zipper foot.  Keeping them straight may be a challenge, but you can
> pin them too.
>
> Sg
>
>
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>


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Personally, I think rigilene is complete crap. I can't count how many theatrical costumes I've had to tear out the rigilene and replace it. Tearing out meaning having to rip the entire bodice or corset apart because it's sewn right into the foundation. Rigilene warps, buckles and twists 3-dimentionally; it's really quite impressive how badly it can damage an outfit.

Farthingales (www.farthingales.on.ca)sells metal boning for both corsets and hoop skirts. They also sell coil boning which won't work for the lacing edges or if you need a really strong bone, but for curves, it's fantastic. They sell busks too. I've dealt with them a few times and I've always been very satisfied. They're based in Stratford, Ont.,home of the Shakespeare festival.

I usually use bias tape for bone casing. The width is right and it curves without bulking up.

Wendy
www.hecate.ca/emma/



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Years ago I came across a couple portaits, Western Europe 15thC-ish, that showed the woman wearing a gown that had laced slits over the breasts to allow for nursing. 

Now that I'm going to be needing a gown that allows for nursing in the near future, I can't find them.

Hope this rings some bells. Any other suggestions would also be welcome. I tend to focus on late 14th-early 15thC French and late 16th-early17thC Dutch, but I'm flexible.


Thanks, Wendy
Happy Spring
(Manitoba just got hit with 40cm of snow, yeah us)


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Bjarne:

Is there a web site that shows anything of the wedding?

The only thing I saw was a tiny black and white picture in my newspaper,
which is a close-up of the prince and his bride. It doesn't even show their
waists! I wish I could have seen the wedding.

Gail Finke

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Hi Gail,
Here is a link to some photos of the danish wedding:
http://www.berlingske.dk/forside/artikel:aid=440754:fid=100100046/

Bjarne


----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Saturday, May 15, 2004 6:26 PM
Subject: [h-cost] Re: wedding


>
> Bjarne:
>
> Is there a web site that shows anything of the wedding?
>
> The only thing I saw was a tiny black and white picture in my newspaper,
> which is a close-up of the prince and his bride. It doesn't even show
their
> waists! I wish I could have seen the wedding.
>
> Gail Finke
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Here are some more pictures:
http://www.berlingske.dk/forside/artikel:aid=438030:fid=100100046/#
You can click on some of the pictures, and you have a lot more to choose
from

Bjarne


----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Saturday, May 15, 2004 6:26 PM
Subject: [h-cost] Re: wedding


>
> Bjarne:
>
> Is there a web site that shows anything of the wedding?
>
> The only thing I saw was a tiny black and white picture in my newspaper,
> which is a close-up of the prince and his bride. It doesn't even show
their
> waists! I wish I could have seen the wedding.
>
> Gail Finke
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From h-costume-bounces@indra.com  Sat May 15 13:37:19 2004
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From: Judy Mitchell <judymitch@oldwaylane.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] nursing garb portrait
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Wendy wrote:
> Years ago I came across a couple portaits, Western Europe 15thC-ish, that showed the woman wearing a gown that had laced slits over the breasts to allow for nursing. 
> 
> Now that I'm going to be needing a gown that allows for nursing in the near future, I can't find them.
> 
> Hope this rings some bells. Any other suggestions would also be welcome. I tend to focus on late 14th-early 15thC French and late 16th-early17thC Dutch, but I'm flexible.

	the Swedish Historical Museum has this page up 
<http://www.historiska.se/histvarld/drakter/smkvinna/smkvinnfr.htm> 
for 15th century, click on 'sark' for the shift with nursing 
slits. Unfortunately they've only translated two of the 
viking pages into English, so this is only available in 
Swedish. They doc the breast slits to a painting of Mary 
nursing Jesus which is shown at the bottom of the right 
frame. I tried to write the woman who made the outfit and 
did the research to see if she had other doc, but I never 
heard back from her.

	-Judy Mitchell

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From h-costume-bounces@indra.com  Sat May 15 14:23:11 2004
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Subject: [h-cost] June 6 event in Pennsville, NJ
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Hi, Guys. I had heard that you were hard to reach online, and since I 
don't have your phone #, I'm trying to reach you this way anyway. I have 
included you on the list of folks to attend the June 6 dedication of the 
Church Boat Monument in Pennsville. We are having a 17th cent. camp 
there. The reenactors will be getting a $25 honorarium and lunch (we may 
be cooking in the field) I have tried to leave a slot open for Dave Rose 
if he is interested, but there is someone else that is interested in the 
slot also. Dave was involved in a whole big fiasco about whether or not 
he was going to portray John Fenwick, but hopefully that has been 
resolved. There was a major lack of communication, especially between 
Janet, Dave, Aleasa and me. Dave sent a note to me after the fact, 
saying that he was a "stealth" reenactor or some such... I didn't quite 
get it, but I took it in stride. I would hope that in the future, we all 
can sort out who is going to be where without any subterfuge of this 
kind. Regardless of all this, I assume that Dave has the proper kit 
(1640s), but he says he needs a musket, etc.  Has he been trained in the 
drill? If he is not comfortable, we can do two things... We can use his 
inexperience in a program bit, or he can work in the camp and not worry 
about trailing a piece in the Queen's service. Let me know soonest about 
your status. If I do not hear from you by Monday, I will need to resort 
to other measures to contact you. Thanks, Mike T.

>  
>


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From h-costume-bounces@indra.com  Sat May 15 18:48:46 2004
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From: "Elizabeth" <thebarefoot.contessa@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: wedding
Date: Sat, 15 May 2004 18:51:47 -0400
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Oh very lovely...I saw some of it on 20/20 an American television magazine.
Next week is the wedding in Spain.  20/20 did a whole Royal special and
interviewed the Prince of Italy and the Prince of Greece.  Very ineresting
but male/Prince and very Young Royal focused.

Elizabeth

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Bjarne og Leif Drews
Sent: Saturday, May 15, 2004 12:36 PM
To: Historical Costume
Subject: Re: [h-cost] Re: wedding


Hi Gail,
Here is a link to some photos of the danish wedding:
http://www.berlingske.dk/forside/artikel:aid=440754:fid=100100046/

Bjarne


----- Original Message -----
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Saturday, May 15, 2004 6:26 PM
Subject: [h-cost] Re: wedding


>
> Bjarne:
>
> Is there a web site that shows anything of the wedding?
>
> The only thing I saw was a tiny black and white picture in my newspaper,
> which is a close-up of the prince and his bride. It doesn't even show
their
> waists! I wish I could have seen the wedding.
>
> Gail Finke
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: "Elizabeth" <thebarefoot.contessa@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: wedding-Hello Mag.
Date: Sat, 15 May 2004 18:53:09 -0400
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Try Hello Magazine

http://www.hellomagazine.com/


Elizabeth

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Gail & Scott Finke
Sent: Saturday, May 15, 2004 12:27 PM
To: h-costume@indra.com
Subject: [h-cost] Re: wedding



Bjarne:

Is there a web site that shows anything of the wedding?

The only thing I saw was a tiny black and white picture in my newspaper,
which is a close-up of the prince and his bride. It doesn't even show their
waists! I wish I could have seen the wedding.

Gail Finke

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Subject: [h-cost] New question on corsets...
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Hello list!

(Deredere, this is a good question for you)

I have wondered this for a long time and I am finally trying to find the
answer by asking you all.  So here it is...

When you make the kind of corset where you sew channels and stuff them
with cording or simulated "whale bone", do you need to cut the material
pieces bigger?

My thought is this--if you take two pieces of material and sew channels in
them and then stuff them with something, the pattern piece will
effectively "shrink up".  So wouldn't you need to cut the pieces bigger to
compensate for this?  Or do you just sew channels into fabric and stuff it
before you cut it?  And if you do cut before you sew the channels, how do
you know how much bigger to make the pieces?

Thanks for helping me resolve this question!

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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Elizabeth wrote:
> http://www.hellomagazine.com/

Great site, thanks!

Maybe those of you who are more familiar with modern day fashions can 
tell me this: what is "medieval" about the Princess's dress?  The 
magazine caption says:

"The bride opted for an elegant medieval look with a gown featuring 
lily-shaped sleeves, a dramatic almost off-the-shoulder neckline and 
panels opening out from the waist to reveal 100-year-old lace"

I know a fair amount about medieval, and although this is lovely and 
chic and all those things, it sure doesn't look medieval to me!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Losing weight is like chipping away at boulder with a toothpick.
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Or, what the heck is "medieval-style" about earrings with  platinum 
settings and FACETED diamonds???

WHERE do they get these fantasies???

Very nice set of pictures though.

Theresa Eacker

Cynthia Virtue wrote:
> Elizabeth wrote:
> 
>> http://www.hellomagazine.com/
> 
> 
> Great site, thanks!
> 
> Maybe those of you who are more familiar with modern day fashions can 
> tell me this: what is "medieval" about the Princess's dress?  


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Hi, All. Big Oops on my part, this was supposed to go to someone else. 
My apologies for the mistake and use of bandwidth. Mike T. (quite 
embarrassed)





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----- Original Message -----
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 14, 2004 11:22 PM
Subject: Re: [h-cost] boned bodice foundation 1766


> I was wondering about that to.
> It looks like you can be right.
> I have a few pictures of 18th century corsets but none of them seems to
> have a busk.
> Unfortionally I know very little of this period.
>
> Greetings,
>         Deredere

You do 19th century, right? If you do then you probably have a different
concept of what a busk is to earlier corset makers. In the 19th century
(1840s-50s I think) they invented stud and loop closures mounted on a piece
of steel as a method of getting in and out of your corset without having to
loosen the laces enough to take it off over your head. however before they
were invented a busk/busc was a flat piece of wood or whalebone (or I've
heard of horn being used occasionally) about 1-2 inches wide inserted into a
pocket in the front of the corset, it essentially works like an extra strong
piece of boning that wouldn't flex to keep the centre front point from
flipping up and to help give you a really flat front.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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So wouldn't you need to cut the pieces bigger to
> compensate for this?  Or do you just sew channels into fabric and stuff it
> before you cut it?  And if you do cut before you sew the channels, how do
> you know how much bigger to make the pieces?

[Sg]   No, you don't need to do that.  It doesn't take up that much room.


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Subject: Re: [h-cost] New question on corsets...
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----- Original Message -----
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Sunday, May 16, 2004 1:27 PM
Subject: RE: [h-cost] New question on corsets...


>
> So wouldn't you need to cut the pieces bigger to
> > compensate for this?  Or do you just sew channels into fabric and stuff
it
> > before you cut it?  And if you do cut before you sew the channels, how
do
> > you know how much bigger to make the pieces?
>
> [Sg]   No, you don't need to do that.  It doesn't take up that much room.

Unless you're using a lot of 3D boning like reeds. e.g. a fully boned (i.e.
every inch covered with bones) 18th century corset stuffed with cable ties
or reeds will need a bit extra on width (a friend claims twice the normal
seam allowance works well) or leave a larger gap at the back. If you're
using something flat like steel they take up so little room it doesn't make
much of a difference.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
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to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Subject: Re: [h-cost] Re: wedding-Hello Mag.
Date: Sun, 16 May 2004 14:46:46 +1000
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----- Original Message -----
From: "Theresa Eacker" <theresa@misc.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 16, 2004 11:31 AM
Subject: Re: [h-cost] Re: wedding-Hello Mag.


> Or, what the heck is "medieval-style" about earrings with  platinum
> settings and FACETED diamonds???
>
> WHERE do they get these fantasies???
>
> Very nice set of pictures though.
>
> Theresa Eacker

Well it's a long dress, it's got to be medieval *g* I suppose it's vaguely
cotehardie like, fitted through the body, flaring from the hips and IIRC (we
got it televised over here too coz Princess Mary was an Australian citizen
until a couple of months ago) it didn't have a waist seam. In reality it's
even less medieval than LOTR.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Date: Sun, 16 May 2004 08:21:47 +0200
From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: Re: [h-cost] New question on corsets...
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Hi,

I use linnen as fabrick to sew the chanels in. It streches a little.
After puting reeds in the corset pieces were just a few mm smaller but 
under stress I don't think there was a difference.
But I read on the internet that people had problems with the corset 
being smaller after they put the boning in.
I think it depends on the fabric you use. You could always make a smal 
piece en mesure it with and without boning.
But put the fabrick under stress wile mesuring it with the boning!


Greetings,
        Deredere


Diana Habra wrote:

>Hello list!
>
>(Deredere, this is a good question for you)
>
>I have wondered this for a long time and I am finally trying to find the
>answer by asking you all.  So here it is...
>
>When you make the kind of corset where you sew channels and stuff them
>with cording or simulated "whale bone", do you need to cut the material
>pieces bigger?
>
>My thought is this--if you take two pieces of material and sew channels in
>them and then stuff them with something, the pattern piece will
>effectively "shrink up".  So wouldn't you need to cut the pieces bigger to
>compensate for this?  Or do you just sew channels into fabric and stuff it
>before you cut it?  And if you do cut before you sew the channels, how do
>you know how much bigger to make the pieces?
>
>Thanks for helping me resolve this question!
>
>  
>



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Subject: Re: [h-cost] New question on corsets...
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> When you make the kind of corset where you sew channels and stuff them
> with cording or simulated "whale bone", do you need to cut the material
> pieces bigger?

Yes, but it also depends on the fabric you use. I used linen for my corset,
and it's a bit stretchy, so it compensates for the shrinkage. Of course, I
was using plastic boning evenly spaced out. Usually, corded corsets are
thickly packed, and the stretch of the linen couldn't compensate for it.

> So wouldn't you need to cut the pieces bigger to
> compensate for this?

Yes.

> Or do you just sew channels into fabric and stuff it
> before you cut it?

I guess you could, but then you'd have trouble controlling exactly where you
want your channels to end up and at which angle.

> And if you do cut before you sew the channels, how do
> you know how much bigger to make the pieces?

You don't, really. There's a bit of instinct and a bit of thinking and a lot
of luck involved. Trial, error and fiddling are still the best way I've
found of properly fitting a corset.

But this is all based on things I've read, experiences of other ppl who've
built corsets. I built only one so far, and I think I was very lucky,
because it fit perfectly almost right away :-)
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Subject: Re: [h-cost] New question on corsets...
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Dear Deredere,
I just finished boning half the corset and i have almost used 32 meter of
boning. I make it fully boned!
I think the reason this corset is schrinking is because there are so many
different boning directions. It shapes rather much with the boning.
Did you notice that it is "crying" for a shaped busk in the front? The
busked point wants to have something lying under it to curve it outwards. I
think i will make the pointed busk with a narrower linning so that it curves
out, it will be nice i think.
I must confess that i use ordinary drilling cotton for my corset. It is only
going to be a linning for the bodice, and i cant get used to the strechiness
of the linnen fabrics.
Ever since i tryed to make Nicoles bodice linning in linnen, i promised
myself never to do that again. I think for handstitching it is ideal, but
when you use your sewingmachine to make all those bone channels, it is very
difficult to make it fit all the edges.
Anyway i just recomend everybody to use this pattern, it is very good!
Glad that this the most hard work is soon over, so that i can go on to the
pannier and the making of the dress :-)

Salut
Bjarne

----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 16, 2004 8:21 AM
Subject: Re: [h-cost] New question on corsets...


> Hi,
>
> I use linnen as fabrick to sew the chanels in. It streches a little.
> After puting reeds in the corset pieces were just a few mm smaller but
> under stress I don't think there was a difference.
> But I read on the internet that people had problems with the corset
> being smaller after they put the boning in.
> I think it depends on the fabric you use. You could always make a smal
> piece en mesure it with and without boning.
> But put the fabrick under stress wile mesuring it with the boning!
>
>
> Greetings,
>         Deredere
>
>
> Diana Habra wrote:
>
> >Hello list!
> >
> >(Deredere, this is a good question for you)
> >
> >I have wondered this for a long time and I am finally trying to find the
> >answer by asking you all.  So here it is...
> >
> >When you make the kind of corset where you sew channels and stuff them
> >with cording or simulated "whale bone", do you need to cut the material
> >pieces bigger?
> >
> >My thought is this--if you take two pieces of material and sew channels
in
> >them and then stuff them with something, the pattern piece will
> >effectively "shrink up".  So wouldn't you need to cut the pieces bigger
to
> >compensate for this?  Or do you just sew channels into fabric and stuff
it
> >before you cut it?  And if you do cut before you sew the channels, how do
> >you know how much bigger to make the pieces?
> >
> >Thanks for helping me resolve this question!
> >
> >
> >
>
>
>
> _______________________________________________
> h-costume mailing list
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>


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From h-costume-bounces@indra.com  Sun May 16 11:36:25 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Sun, 16 May 2004 17:34:44 +0200
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Hi, you are quite right, but i think the whole idea was to have it look like,,,,,,,,, using the same shape or something.
Isnt this the way things are in this world, only us costume freaks knows how it was supposed to be.
Anyway Marys father came up with a lovely speach, mentioning his scottish anscestors was doing a job in wain fighting with all the danish wikings. Yes never before have there ben so many kilts in the castle. It was lovely and Mary is such a lovely girl. She has taken us with storm.....

Bjarne  





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <000001c43af5$a8527030$6a01a8c0@SG01>
Subject: Re: [h-cost] New question on corsets...
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For a fully boned set of stays, measure a sample cut of your stays fabric
wide enough for 10 bone channels, plus an inch or so seam allowance. (If
you're making 3/8" channels, you'll need a width of 3 3/4", plus your seam
allowance on either side. The length doesn't really matter that much, as
long as it's long enough to hold the stitches; I generally go with ~3".
That's a small enough sample that you should still have plenty of fabric to
cut out your stays.) Then sew 10 channels, using your pre-determined width
and beng sure to leave your pre-determined seam allowance. Bone them with
the same material you'll be using. Then pull on each end of the sample, to
simulate the stress the fabric will be under when worn, and measure it while
keeping that pull on it--put a ruler down somewhere, so you can just hold
the test swatch on top of it. Using the 3/8" example, the test swatch should
be 3 3/4" or less in width.

Like Saragrace said, there's rarely enough difference to matter, and since
your fabric will stretch when you put the corset on, you'll probably more
than make up for the difference. If you're using really thick boning
material like reeds, it might be a concern, but still, expect the corset to
expand a couple of inches or more after having been worn for a few hours.

To be accurate, you should make the boning channels as tight as you possibly
can--there was a reason that historically, women weren't considered strong
enough to be staymakers! By doing this, you'll be pre-stretching the
channels to nearly the limit of the cloth's stretch, which means that when
worn, the stays will NOT expand after wear. I use 5mm boning that's about
1.5mm thick, in 5mm boning channels, and while it is a workout to get them
in, the end result works great, doesn't get stretched out more than ~1/2" no
matter how long I wear it, and looks a lot tidier than stays with looser
boning channels.

For a fully boned corset, you probably will need to trim each panel slightly
after you've sewn in the channels; it's easy for things to skew around a bit
while you're doing all that sewing. You might want to add a little bit
around each pattern piece (I generally add 1/4") when you're cutting them
out to allow for this; just be sure to trim each panel back to the exact
pattern when you're done sewing the channels! You'll also need to be sure to
match the boning lines back up with the ones on the pattern, or with
whichever straight line they should match.

For a partially boned corset or a 19thC or early 20thC, you definitely don't
need to add any fabric, and you should never bone before cutting out the
corset, period.

-E (Who needs arms like a blacksmith? I have arms like a staymaker!)

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
Just uploaded pictures of the foundation i am going to use for the court dress. Its the same kind as Deredere made.
My foundation is fully boned.

Bjarne
http://www.my-drewscostumes.dk/estrup2.htm




Leif og Bjarne Drews
www.my-drewscostumes.dk

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At 09:35 PM 5/16/2004 +0200, you wrote:
>Hi,
>Just uploaded pictures of the foundation i am going to use for the court 
>dress. Its the same kind as Deredere made.
>My foundation is fully boned.
>
>Bjarne
>http://www.my-drewscostumes.dk/estrup2.htm

As always, your work is very good, Bjarne, both in design and 
execution.  It makes me wish that there were a reason to make some 18th 
century European clothing for me.  But there's not much going on in 
reenactment for that time period out here in California.

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Date: Sun, 16 May 2004 18:57:17 -0400
Subject: Re: [h-cost] colleges for history and construction - thank you
From: Marsha J Hamilton <mjh@pearlandplume.com>
To: Historical Costume <h-costume@indra.com>
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I want to thank everyone on the list for the great suggestions for colleges.
I've passed them on to my friend who was delighted to get them.  You are a
great resource!

Marsha 
------

on 5/4/04 12:06 AM, Marsha J Hamilton at mjh@pearlandplume.com wrote:

> A question for people in the U.S.--
> 
> A friend's daughter is in college and wants to transfer to a school where
> she can get into a B.A. program that offers costume and clothing history
> courses but also courses on construction and sewing/tailoring techniques...

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Date: Sun, 16 May 2004 17:10:21 -0700 (PDT)
Subject: Re: [h-cost] New question on corsets...
From: "Diana Habra" <dch@inreach.com>
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Thanks to everyone who helped clear up my question.  I haven't had a
chance to make one, although I did start a pattern at one time.  But now I
am armed with the knowledge I need.

Hmmm, where DID I put that pattern....?

Diana

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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Well an update on my very first corset. It is done! It turned out very nice.
I used a simplicity pattern.  It is very basic and probably not real "true",
but easy to construct.  I have some notes in the margin of the instructions
for further reference. Like use something to interface the back eyelet area
where it is laced. 

 

Now for my mistakes.  Fearing that the pattern would be too small for my odd
shaped body, I purchased a fabric twill in look, but with a bit of stretch
to it.  It sewed fine. Looks nice. But the corset is too big! Imagine that!
Even with the lacing as tight as it can go it is roomy. 

 

I used the plastic boning avalible at JoAnn fabrics. Not the best choice. I
could even sew through it and not break a needle. But it will be ok for the
one or 2 days I plan on wearing it.  It may be a better fit over my chemise.
I tried it on over a t shirt. 

 

I have learned so much from all of you. I thank you very much!

 

My drawers are finished as well. Much to my hubby's raised eye brows hehehe.
They are more period correct ( 1850's)

Just a hoop shirt to go and perhaps a petticoat. 

Terese

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What have you been doing Bjarne?  Working 24-7???  Do you sleep?

Very nice, as usual!
Sg

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A couple of weeks ago I sent a link for an amusing comic, which was
available only on that day.

On Mon, 3 May 2004, Lynn Downward wrote:

> Gotta get my email at home fixed. I hate only having access on weekdays!

For Lynn and anyone else who missed it, it's now on the King features site
(which has a two-week delay on its comics archive). Go here:

http://www.kingfeatures.com/features/comics/sixchix/about.htm

and select Sunday, May 2.

Interesting idea for ruff construction.

--Robin


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Thanks Robin for sharing this. I gotta pass it on to friends.

Kimiko



At 01:19 AM 5/17/2004 -0500, you wrote:

>A couple of weeks ago I sent a link for an amusing comic, which was
>available only on that day.
>
>On Mon, 3 May 2004, Lynn Downward wrote:
>
> > Gotta get my email at home fixed. I hate only having access on weekdays!
>
>For Lynn and anyone else who missed it, it's now on the King features site
>(which has a two-week delay on its comics archive). Go here:
>
>http://www.kingfeatures.com/features/comics/sixchix/about.htm
>
>and select Sunday, May 2.
>
>Interesting idea for ruff construction.
>
>--Robin



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From: Lena Strid <lstrid@mglarc.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] nursing garb portrait
Date: Mon, 17 May 2004 08:42:20 +0100
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The breast feeding topic came up a few months ago on the Swedish Medieval
re-enactment/living history forum
(http://www.historiska.se/histvarld/forum/) and a few pictures were linked
to. As I don't have internet access right now, I cannot unfortunately check
it for you. But they have an English forum part as well, further down on the
page. Ask there, and I'm sure someone will give you the links. 

Best of luck,
Lena 
(goes back to lurking)


-----Original Message-----
From: Judy Mitchell [mailto:judymitch@oldwaylane.net]
Sent: 15 May 2004 18:29
To: Historical Costume
Subject: Re: [h-cost] nursing garb portrait


Wendy wrote:
> Years ago I came across a couple portaits, Western Europe 15thC-ish, that
showed the woman wearing a gown that had laced slits over the breasts to
allow for nursing. 
> 
> Now that I'm going to be needing a gown that allows for nursing in the
near future, I can't find them.
> 
> Hope this rings some bells. Any other suggestions would also be welcome. I
tend to focus on late 14th-early 15thC French and late 16th-early17thC
Dutch, but I'm flexible.

	the Swedish Historical Museum has this page up 
<http://www.historiska.se/histvarld/drakter/smkvinna/smkvinnfr.htm> 
for 15th century, click on 'sark' for the shift with nursing 
slits. Unfortunately they've only translated two of the 
viking pages into English, so this is only available in 
Swedish. They doc the breast slits to a painting of Mary 
nursing Jesus which is shown at the bottom of the right 
frame. I tried to write the woman who made the outfit and 
did the research to see if she had other doc, but I never 
heard back from her.

	-Judy Mitchell

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From: Angela Kessler <ivyharpdotcom@yahoo.com>
Subject: Re: [h-cost] Re: wedding-Hello Mag.
To: Historical Costume <h-costume@indra.com>
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Also, no sequins or other applied decoration on the
bodice.  That's an unusual look by today's fashions.

-Angela


--- Cynthia Virtue
<cvirtue+dated+1100218144.e1e6c0@thibault.org> wrote:
> Elizabeth wrote:
> > http://www.hellomagazine.com/
> 
> Great site, thanks!
> 
> Maybe those of you who are more familiar with modern
> day fashions can 
> tell me this: what is "medieval" about the
> Princess's dress?  The 
> magazine caption says:
> 
> "The bride opted for an elegant medieval look with a
> gown featuring 
> lily-shaped sleeves, a dramatic almost
> off-the-shoulder neckline and 
> panels opening out from the waist to reveal
> 100-year-old lace"
> 
> I know a fair amount about medieval, and although
> this is lovely and 
> chic and all those things, it sure doesn't look
> medieval to me!
> 
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
> 
> Losing weight is like chipping away at boulder with
> a toothpick.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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I have always thought of chemise's as being simple peasent blouses that were
simply of difrent lengths.  Is this corect?  For that mater is there any
historical basis for the drawstring peasent blouse at all? Does anyone know
where I can get some good tips for makeing more corect chemise's, I have
specific intrest in a particular period.

Thanks
Kit.


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     They did change through history as the shapes of the outer garments
changed.  A few extant 18th & early 19thC shifts have drawstrings,
but they seem more to control the neckline shape a bit, not to draw
up large amounts of fabric.  But by then the shift does not have a
peasant blouse look.

     What is your period of interest?  That would help to track down sources.

     _Cut My Cote_ is a book that has pattern drafts of simple garments
from several historic periods, shifts/chemises included.

     -Carol


> I have always thought of chemise's as being simple peasent blouses that
> were simply of difrent lengths.  Is this corect?  For that mater is there
> any historical basis for the drawstring peasent blouse at all? Does anyone
> know where I can get some good tips for makeing more corect chemise's, I
> have specific intrest in a particular period.
>
> Thanks
> Kit.

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Subject: Re: [h-cost] Boning tips that work for me!
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Oh dear.  Well I have used the *boning* (without the bias tape) quite
successfully trowing out the bias tape as utterly usless.

Now, I'm going to share how *I* use boning.  It isn't the only way, but it
works for me.  I'm not going to get into the construction of the garments,
just the boning techiniques I use.

I've sewn (both hand and machine) using the bias tape and find that it just
*gives* and allows too much 'play' in the channel for the boning.  Makes the
boning uncomfortable and provided no stiffening or support whatsoever.

Then I started to use twill tape of any fibe content with the boning.  Once
I began using the twill tape, with machine sewing using the zipperfoot, the
boning began to be more supported and stable.  It moved far less in the
channel.  However, there was just still a little too much play in the
channel for the boning, when machine stitched, for much real support; for
example, for fathingales or corsets.

When I began combining machine and hand sewing the boining I found that it
provided more of both the stiffening and support needed.  What I do is this:

Farthingale: Sew the farthingale together, with a quilting pencil mark
whereever I want a row of boning, usually the top of the row.  I like to use
heavy duty quilting thread to sew the farthingale and to sew the tape on;
but you can use whatever you like to use, that is strong enough to endure
the strain.  Machine stitch the top edge of the tapes to the garment.  I
don't use pieced twill tape, if at possible and sew all the rows down in one
sitting.  I use the great big quilting 'basting safety pins' to pin the (use
as many 'multiple shannel' rows of support I need to support the fabric, but
each channel gets it's own edge stitching!)   I use quilting safety pins to
secure boning within the twill tape and for handsewing comfort; it's easier
to move the pins around, too, to where I need them as I am working my way
around.  And I don't skimp on the number of pins I use, either!  Using the
backstitch, I stitch right up against the edge of the boning!  I make it
fairly snug, but not stretching against the stitch.  I cut the tape long
enough to secure the beginning and the ends by tucking the twill *under* the
boning and next to the garment fabric so each end is selfcontained.  This is
*very* important: Then I overcast stitch the two 'finished' ends of the tape
(the fold part covering the ends of the boning) together.  If extra support
is needed to keep the ends from making a 'crease' I use more twill tape to
sew over the join, making sure to pull the cut ends of the twill being
stitched on, so that it is very snug, and stitch entirely all around the
'patch'.  Sometimes I double-layer the patch, if extra support is needed.

Corsets:  I sew together each of the layers *separately* from the other,
either by hand or machine or a combination.  Usually I don't grade the seam
allowances, because I generally use a 1/2 seam.  I now have a lining layer,
inter-lining and the outer fabric layer.  Then I baste the inter-lining and
the lining together, wrong side of inter-lining up against the wrong side of
the lining; this is so that those seams don't 'show' or 'shadow' through to
the fashion fabric.    Baste fashion fabric to lining combo, wrong side to
right side of interlining.  I generally baste once along each seam, around
the raw edges down about 1" (for  binding the raw edges), where the ends of
the bones will be (as a guideline) and about every 3 inches.  Using a
quilter's pencil, lightly draw *one* line right side of fashion fabric for
*each 'angle'* of boning that isn't using a seam for the angle. Using the
backstitch, I stitch the first side of the bone channel, insert bone
*inbetween the INTER-LINING and LINING, handstitch bone in, *VERY* snuggly
(but not stretching!), all the way around, even across the ends of the
boning.  Insert next bone, and repeat as for first bone.  When 'sections' of
boning is done, I like to stitch an extra line of backstitch at the boning
ends, just to provide more stability at the ends.

When I do my boning this way, generally I only need to bone from the center
front to the side front and center back to the back side seams, because I'm
NOT very busty, and the boning is so well supported by the stitching and
sandwich of fabrics.  And I like to use the woven horsehair interfacing for
the inter-lining.  It's really stable.

But anyways, that's how I like to do them.  With this much hand sewing, I
like to watch some of my favorite 'costume movies'.  Granted, some of my
favorite movies aren't really accurate, costume-wise, but they are fun to
watch!

Happy stitching!
Emer \ Gia
----- Original Message ----- 
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Saturday, May 15, 2004 6:43 AM
Subject: RE: [h-cost] Boning


>
> > On the corset ( which I should have done first I now know) it calls for
> > boning.  I bought what was available to me a nd that was plastic boning
> > encased in material .  In the pattern directions, it calls for twill
tape
> to
> > make the casing.  Which I purchased bias binding.  My question is can I
> used
> > the encased boning as is and skip the bias tape?
> [Sg] Sure can!  It may be a little tricky, but you should be able to sew
the
> casings (with the bones in) directly to your fabric with a zig zag stitch
or
> even a zipper foot.  Keeping them straight may be a challenge, but you can
> pin them too.
>
> Sg
>
>
> _______________________________________________
> 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 May 17 13:12:26 2004
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Date: Mon, 17 May 2004 10:09:41 -0700
Subject: Re: [h-cost] Amusement for Elizabethan aficionados
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Bless you, Robin. That's just great! Thanks for following up.

LynnD

On 5/16/04 11:19 PM, "Robin Netherton" <robin@shell.nightowl.net> wrote:

> 
> A couple of weeks ago I sent a link for an amusing comic, which was
> available only on that day.
> 
> On Mon, 3 May 2004, Lynn Downward wrote:
> 
>> Gotta get my email at home fixed. I hate only having access on weekdays!
> 
> For Lynn and anyone else who missed it, it's now on the King features site
> (which has a two-week delay on its comics archive). Go here:
> 
> http://www.kingfeatures.com/features/comics/sixchix/about.htm
> 
> and select Sunday, May 2.
> 
> Interesting idea for ruff construction.
> 
> --Robin
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-bounces@indra.com  Mon May 17 14:33:13 2004
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From: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Chemise construction
To: Historical Costume <h-costume@indra.com>
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if you tell us which period, we can probably point you
in the right direction. Several of Tiziano's paintings
show women in drawstring neck chemises, but that is
the 16th century in Italy.

Catalina


 --- Marian Brock-Andersen <Info@roguestailor.com>
wrote: > I have always thought of chemise's as being
simple
> peasent blouses that were
> simply of difrent lengths.  Is this corect?  For
> that mater is there any
> historical basis for the drawstring peasent blouse
> at all? Does anyone know
> where I can get some good tips for makeing more
> corect chemise's, I have
> specific intrest in a particular period.
> 
> Thanks
> Kit.
> 
> 
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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Oh, now that's a subject I'm interested in, what's your favorite?   I've
loved the Scarlett Pimpernell with Jane Seymour and Anthony andrews
since I first saw it in the seventies?   and any western known to man,
except the Unforgiven and their ilk.  LOL   someone tell us your's.  
Kitty

Gia wrote:
 With this much hand sewing, I
> like to watch some of my favorite 'costume movies'.  Granted, some of my
> favorite movies aren't really accurate, costume-wise, but they are fun to
> watch!
> 
> Happy stitching!

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Hi,
Ever since i got "Let them eat Cake" with French and Saunders i have made
that my preferred film to watch when i am stitching.
I especially likes the scenes when the maid is waking up the lady after she
had a visit of Maquis de Sade during the night......................:-)

Bjarne

--- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 17, 2004 10:17 PM
Subject: [h-cost] Re:Costume movies (for stitching to of course)


> Oh, now that's a subject I'm interested in, what's your favorite?   I've
> loved the Scarlett Pimpernell with Jane Seymour and Anthony andrews
> since I first saw it in the seventies?   and any western known to man,
> except the Unforgiven and their ilk.  LOL   someone tell us your's.
> Kitty
>
> Gia wrote:
>  With this much hand sewing, I
> > like to watch some of my favorite 'costume movies'.  Granted, some of my
> > favorite movies aren't really accurate, costume-wise, but they are fun
to
> > watch!
> >
> > Happy stitching!
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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I read in the newspapers and magazines about the weddingdress that it was made from 60 meters of Duchesse Satin, wich i dont believe. Even if the train 6 meters long is lined with the satin as well. They clame it weighs 10 kg. 
Then one magazine writes that Uffe Frank (designer of the dress) spended more than 300 hours in making it, and stitched every stitch on it. Another magazine says that it was only designed by Frank and a lady who has made several dresses for the quen sewed the weding dress. 
The "Silkehuset" where i also have buyed duchesse satin said that more than 200.000 cocoons of silk went to the fabric wich was made in China, dyed in Bangalore India and weaved in Italy.
Do you really believe this that they used 60 meters?

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: RE: [h-cost] Re:Costume movies (for stitching to of course)
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> Hi,
> Ever since i got "Let them eat Cake" with French and Saunders i have made
> that my preferred film to watch when i am stitching.
> I especially likes the scenes when the maid is waking up the lady after
she
> had a visit of Maquis de Sade during the night......................:-)
> 
> Bjarne
>
[Sg] Woah Buddy!  You crack me up Bjarne...that is a hard one to top!

I generally listen to National Public Radio until it starts repeating
itself.  I get too distracted by movies but watch the History or the Home
and Garden channel.
But I guess if I have to choose a movie, it would be Dangerous Liasons.  I
have seen it enough that I can glance up at the eye candy periodically......

Sg


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.
> Do you really believe this that they used 60 meters?
> 
> Bjarne
[Sg] Nope!

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Subject: Re: [h-cost] ot danish wedding
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I made a similar dress with a 1 meter train with 14
meters of fabric.Now, It did take another 14 for the
lining, but I can't imagine a train 32 meters long. 

Catalina



 --- Bjarne og Leif Drews <drewscph@post12.tele.dk>
wrote: > I read in the newspapers and magazines about
the
> weddingdress that it was made from 60 meters of
> Duchesse Satin, wich i dont believe. Even if the
> train 6 meters long is lined with the satin as well.
> They clame it weighs 10 kg. 
> Then one magazine writes that Uffe Frank (designer
> of the dress) spended more than 300 hours in making
> it, and stitched every stitch on it. Another
> magazine says that it was only designed by Frank and
> a lady who has made several dresses for the quen
> sewed the weding dress. 
> The "Silkehuset" where i also have buyed duchesse
> satin said that more than 200.000 cocoons of silk
> went to the fabric wich was made in China, dyed in
> Bangalore India and weaved in Italy.
> Do you really believe this that they used 60 meters?
> 
> 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 

=====
Catalina
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Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
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I like the "Three Musketeers" with Michael York.
Except for Raquel Welch's dresses of course.

Catalina 


--- Kitty Felton <basyefelton@floodcity.net> wrote: >
Oh, now that's a subject I'm interested in, what's
> your favorite?   I've
> loved the Scarlett Pimpernell with Jane Seymour and
> Anthony andrews
> since I first saw it in the seventies?   and any
> western known to man,
> except the Unforgiven and their ilk.  LOL   someone
> tell us your's.  
> Kitty
> 


=====
Catalina
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On Mon, 17 May 2004, Bjarne og Leif Drews wrote:

> Do you really believe this that they used 60 meters?

Only if they made a whole lot of mistakes and had to throw a bunch out :-P

--Robin

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From: Angela Kessler <ivyharpdotcom@yahoo.com>
Subject: Re: [h-cost] ot danish wedding
To: Historical Costume <h-costume@indra.com>
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There's an impressive overhead view of the train on
http://www.berlingske.dk/forside/artikel:aid=438030:fid=100100046/#
Click on the picture labelled "Bruden ankommer til
kirken", a picture of the bride and escort outside on
the street.  Keep hitting next> in the window that
pops up, and it's about the 15th picture in that
series.  You can see them walking down the aisle in
church, with her train spread out for 5 pews behind
her.

Maybe good-quality silk satin is only available in
narrow widths?  If that train needed two widths (plus
two for the other side), that could add up really
quickly, then of course the skirt looks like it's
self-lined, plus the layer of antique lace (I wonder
if that was yard goods, and if so, how wide), plus its
lining.  They could even be counting the veil.  Still,
it seems a stretch to get to 60 meters.

-Angela

-Angela


	
		
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Subject: Re: [h-cost] ot danish wedding
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> .
> > Do you really believe this that they used 60 meters?
> >
> > Bjarne
> [Sg] Nope!

Unless they started over a few times, made sleeves then removed them, and
replaced a few pieces...
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Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
Date: Tue, 18 May 2004 15:25:08 -0700
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Hi!  I like to watch Ever After, Much Ado About Nothing (with Emma
Thompson),  A Knight's Tale,  A Midnights Summer Dream (with Calista
Flockhart), Sense and Sensibility ( Emma again), Taming of the Shrew (with
Liz Taylor).  When I get to have a large block of time to get and handsew I
like to watch Gone with the Wind or Pride and Prejudice (with Colin Firth).

I have others, but they are old black and whites, and I like to just watch
those with popcorn...extra butter!  So no sewing stuff at all with buttery
fingers!
Happy Stitching!

Emer \ Gia
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 17, 2004 1:17 PM
Subject: [h-cost] Re:Costume movies (for stitching to of course)


> Oh, now that's a subject I'm interested in, what's your favorite?   I've
> loved the Scarlett Pimpernell with Jane Seymour and Anthony andrews
> since I first saw it in the seventies?   and any western known to man,
> except the Unforgiven and their ilk.  LOL   someone tell us your's.
> Kitty
>
> Gia wrote:
>  With this much hand sewing, I
> > like to watch some of my favorite 'costume movies'.  Granted, some of my
> > favorite movies aren't really accurate, costume-wise, but they are fun
to
> > watch!
> >
> > Happy stitching!
>
> _______________________________________________
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> h-costume@mail.indra.com
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>


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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] ot danish wedding
Date: Mon, 17 May 2004 17:39:40 -0500
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No, but only if perhaps a copy was made(in case of mishap)and perhaps
another copy for museum or historic purposes.

Or maybe they ordered and purchased 60 metres.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Bjarne og Leif Drews
Sent: Monday, May 17, 2004 3:35 PM
To: h-costume@indra.com
Subject: [h-cost] ot danish wedding


I read in the newspapers and magazines about the weddingdress that it was
made from 60 meters of Duchesse Satin, wich i dont believe. Even if the
train 6 meters long is lined with the satin as well. They clame it weighs 10
kg.
Then one magazine writes that Uffe Frank (designer of the dress) spended
more than 300 hours in making it, and stitched every stitch on it. Another
magazine says that it was only designed by Frank and a lady who has made
several dresses for the quen sewed the weding dress.
The "Silkehuset" where i also have buyed duchesse satin said that more than
200.000 cocoons of silk went to the fabric wich was made in China, dyed in
Bangalore India and weaved in Italy.
Do you really believe this that they used 60 meters?

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Subject: [h-cost] Holbein's portraits of Henry VIII wives
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Does anyone know of an online source, or a  book where I can obtain reprints
of the portraits of Henry VIII's wives that are in the State museum in
Germany? I can get the exact name of the museum, I think it's in Berlin.
They are in black and white?  A friend's daughter was recently there, and
she took a snapshot of one (OOPS) before she realized it was a no photo
zone, but she'd really like copies and I'd like to find a book for her, or
maybe an on line source.

thanks!

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

http://www.cabbagerosecostumes.com

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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
References: <011801c43c5f$38c1c840$2a0010ac@AngelaFLazear>
Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
Date: Mon, 17 May 2004 19:29:28 -0400
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Several portraits of Henry, plus Catherine Howard, Anne of Cleves, and Jane
Seymour (all by Holbein) can be found at the Web Gallery of Art.  There are
also portraits of Anne Boleyn and Catherine Parr by an unknown artist, and
one of Catherine of Aragon by Horenbut.  Go to
http://www.kfki.hu/~arthp/welcome.html   and click on the "Search Engine".
Enter "Henry VIII" in the text search box, and it will bring up all the
portraits (and lots of Holbein).
You can also search in altavista in the image section-
http://www.altavista.com/image/default    Search for each wife by name, and
it will bring up lots of portraits of each one.
Web Gallery will list the museum; in altavista, you'll have to dig a little
further to find info on the painting.
             -Helen/Aidan


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Hi, Catalina. This matter of drawstrings is an ongoing debate amongst 
some of us. Could I ask kindly of you to reference the paintings and, if 
possible, provide a link to an online source? Thank You, Mike T.


>if you tell us which period, we can probably point you
>in the right direction. Several of Tiziano's paintings
>show women in drawstring neck chemises, but that is
>the 16th century in Italy.
>
>Catalina
>
>
>  
>
>  
>


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To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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On 23:35 17/05/2004 angelalazear said
>Does anyone know of an online source, or a  book where I can obtain reprints
>of the portraits of Henry VIII's wives that are in the State museum in
>Germany?

There aren't many. Holbein only did full scale portraits of two of the 
wives; Jane Seymour and Anne of Cleves. There is a disputed portrait of 
Catherine Howard (sitter disputed, not artist), but Holbein died before 
there were any more. He never painted Anne Boleyn, though there is a 
Holbein sketch which is supposed to be of Anne Boleyn.
I did discover the original entry of the first royal payment to Holbein in 
the royal account books when I was studying Holbein's great Whitehall 
fresco. His first royal employer was Thomas Cromwell, not the King, and the 
payment was for two "table portraits," of Henry and of Jane Seymour. It 
isn't clear if the extant portrait of Jane is the one referred to in the 
payment.
Here's the Jane Seymour
http://www.artunframed.com/images/artmis45/hhol87.jpg
Here's the Anne of Cleves (a long URL - you might have to copy and paste 
into your browser)
http://images.google.com/imgres?imgurl=bertc.com/subone/images/holbein.jpg&imgrefurl=http://bertc.com/subone/holbein.htm&h=661&w=475&sz=32&tbnid=b79bxl_SyM8J:&tbnh=134&tbnw=97&start=4&prev=/images%3Fq%3Dholbein%2Banne%2Bof%2Bcleves%26hl%3Den%26lr%3D%26ie%3DUTF-8%26sa%3DG

The Louvre holds the Anne of Cleves, and the supposed 'table portrait' of 
Henry is in Madrid. The State Museum of Berlin holds one Holbein portrait, 
but it is of a German merchant, not a royal portrait, and dates from the 
first period of Holbein's residency in England, when he moved outside the 
royal circle. The Jane Seymour is in Vienna. Washington, USA holds the 
portrait of the baby Prince Edward.
Here are the Holbein portraits held by museums in Germany. None of them are 
royal, but perhaps these are what you meant:
http://www.abcgallery.com/H/holbein/holbein48.html
http://www.abcgallery.com/H/holbein/holbein37.html
http://www.abcgallery.com/H/holbein/holbein39.html
http://www.abcgallery.com/H/holbein/holbein23.html
http://www.abcgallery.com/H/holbein/holbein27.html

The greatest single collection of Holbein's work is in Basel, Switzerland. 
Since Holbein is one of the world's greatest masters, there are many copies 
of his work online.
Most of the drawings are part of the Royal Collection, after George II's 
queen, Queen Caroline, discovered a portfolio tucked in an old desk. We 
should all find something like this tucked in old desks!


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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Subject: RE: [h-cost] Holbein's portraits of Henry VIII wives
Date: Mon, 17 May 2004 16:51:02 -0700
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http://www.artcyclopedia.com/artists/holbein_the_younger_hans.html

I really like this link...it seems to have just about every online source
for the artists.

Sg


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Date: Tue, 18 May 2004 00:39:57 +0100
To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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On 23:35 17/05/2004 angelalazear said
>Does anyone know of an online source, or a  book where I can obtain reprints
>of the portraits of Henry VIII's wives that are in the State museum in
>Germany?

There aren't many. Holbein only did full scale portraits of two of the 
wives; Jane Seymour and Anne of Cleves. There is a disputed portrait of 
Catherine Howard (sitter disputed, not artist), but Holbein died before 
there were any more. He never painted Anne Boleyn, though there is a 
Holbein sketch which is supposed to be of Anne Boleyn.
I did discover the original entry of the first royal payment to Holbein in 
the royal account books when I was studying Holbein's great Whitehall 
fresco. His first royal employer was Thomas Cromwell, not the King, and the 
payment was for two "table portraits," of Henry and of Jane Seymour. It 
isn't clear if the extant portrait of Jane is the one referred to in the 
payment.
Here's the Jane Seymour
http://www.artunframed.com/images/artmis45/hhol87.jpg
Here's the Anne of Cleves (a long URL - you might have to copy and paste 
into your browser)
http://images.google.com/imgres?imgurl=bertc.com/subone/images/holbein.jpg&imgrefurl=http://bertc.com/subone/holbein.htm&h=661&w=475&sz=32&tbnid=b79bxl_SyM8J:&tbnh=134&tbnw=97&start=4&prev=/images%3Fq%3Dholbein%2Banne%2Bof%2Bcleves%26hl%3Den%26lr%3D%26ie%3DUTF-8%26sa%3DG

The Louvre holds the Anne of Cleves, and the supposed 'table portrait' of 
Henry is in Madrid. The State Museum of Berlin holds one Holbein portrait, 
but it is of a German merchant, not a royal portrait, and dates from the 
first period of Holbein's residency in England, when he moved outside the 
royal circle. The Jane Seymour is in Vienna. Washington, USA holds the 
portrait of the baby Prince Edward.
Here are the Holbein portraits held by museums in Germany. None of them are 
royal, but perhaps these are what you meant:
http://www.abcgallery.com/H/holbein/holbein48.html
http://www.abcgallery.com/H/holbein/holbein37.html
http://www.abcgallery.com/H/holbein/holbein39.html
http://www.abcgallery.com/H/holbein/holbein23.html
http://www.abcgallery.com/H/holbein/holbein27.html

The greatest single collection of Holbein's work is in Basel, Switzerland. 
Since Holbein is one of the world's greatest masters, there are many copies 
of his work online.
Most of the drawings are part of the Royal Collection, after George II's 
queen, Queen Caroline, discovered a portfolio tucked in an old desk. We 
should all find something like this tucked in old desks!


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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From h-costume-bounces@indra.com  Mon May 17 20:13:50 2004
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Hi All,

I just caught Oprah today, and she was promoting "Colonial House" which 
starts tonight on PBS. More info here at the website.
http://www.pbs.org/wnet/colonialhouse/

It looked rather interesting, and is set in 1628. The costumes looked 
interesting at least, and Oprah and Gail didn't like not wearing modern 
undies, especially losing the panties. I have it scheduled on our Tivo, and 
I hope it is as informative and interesting as Pioneer House was.

Anyway, I thought I would share for those who are interested.

Kimiko

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: wedding-Hello Mag.
Date: Mon, 17 May 2004 20:36:46 -0400
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On Saturday 15 May 2004 08:09 pm, Cynthia Virtue wrote:
> Elizabeth wrote:
> > http://www.hellomagazine.com/
>
> Great site, thanks!
>
> Maybe those of you who are more familiar with modern day fashions can
> tell me this: what is "medieval" about the Princess's dress?  The
> magazine caption says:
>
> "The bride opted for an elegant medieval look with a gown featuring
> lily-shaped sleeves, a dramatic almost off-the-shoulder neckline and
> panels opening out from the waist to reveal 100-year-old lace"
>
> I know a fair amount about medieval, and although this is lovely and
> chic and all those things, it sure doesn't look medieval to me!

I agree. But to people whose knowledge of historic costume is limited to 
Victorian paintings and the occasional movie, anything with "lily shaped" 
sleeves will look medieval.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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Subject: [h-cost] brown and red repro fabrics on clearance
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All,

A few weeks ago we were talking about the new line of victorian repro 
cotton prints in browns and reds that Hancock Fabrics is selling. They 
must not be moving at all because my local store now has them on 
clearance for $1 a yard, marked down from the regular $5.99 price.

So if mid-1800's is your thing, check it out.



Dawn



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Angela wrote:

> Maybe good-quality silk satin is only available in
> narrow widths?  If that train needed two widths (plus
> two for the other side), that could add up really
> quickly, then of course the skirt looks like it's
> self-lined, plus the layer of antique lace (I wonder
> if that was yard goods, and if so, how wide), plus its
> lining.  They could even be counting the veil.  Still,
> it seems a stretch to get to 60 meters.

I saw the bridesmaids rearrange the train at one stage, and it was
definitely three widths.

The outer skirt was also self-lined, and looked to me like the underskirt,
under the antique irish lace (8m, they say) looked stuff enough that it
could have been the same material.

But still, 60 metres?? Possibly - 3 widths of the train - don't know the
length, but if it's 10m, then that's 30 there. If they self-lined
everything, it could get to another 4m for each layer of the skirt (4*4 -
16) - as the fabric width looked quite slim when made up in the train, plus
another couple of metres for the folded decoration on the sides.(another
4m*2 - 8m, I would think). That adds up to 54m before the bodice, so maybe
60m isn't far off the mark.

An absolutely beautiful dress, though. Will make for some great women's
magazine covers over here in Australia.

We found out an amusing thing during the wedding commentary. Mary's father
used to work at the University of Tasmania, where one of my husband's
teenage mentors (his father having run off when he was very young) also
worked for quite a few years in the late 80s-early 90s. Thus we are 2 or a
maximum of 3 (it's not that big a Uni and John is the type of person that
knows EVERYONE!!!) degrees of separation away from the Danish Royal Family.
My husband has always said that 6 degrees of separation is WAY too many!

Glenda.

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Really?  Please share!  I've seen a number that have ribbon ties but are clearly sewn down gathers or pleats, but never a drawstring.

Inquiring minds want to know...
Danielle

>if you tell us which period, we can probably point you
>in the right direction. Several of Tiziano's paintings
>show women in drawstring neck chemises, but that is
>the 16th century in Italy.
>
>Catalina


Need a new email address that people can remember
Check out the new EudoraMail at
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I've been trying to figure out how the train is attached.  It looks, in 
some of the views from the side-back, that there's a panel which goes up 
the back bodice?  So the train isn't carried from the waist like some, 
but from the whole back of the bodice.  Maybe concealed hooks there so 
it can come off, because surely it must, so the woman could *move* after 
the ceremony!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Losing weight is like chipping away at boulder with a toothpick.
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In a message dated 5/17/2004 4:28:28 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:

> With this much hand sewing, I
> >>like to watch some of my favorite 'costume movies'. 

How do you do this? I can either watch the movie or watch my stitching.

I usually put on some Bach or Stravinsky or maybe a Monteverdi or Handel 
opera and listen while I watch what I'm sewing.
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Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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I have an image in my portrait file of Jane Seymour with different
lower sleeves. They appear to be a creamy off-white and are pleated
from wrist towards the elbow (which of course, can't be seen since
it's beneath the voluminous folded upper sleeve). The gown appears to
be the same as in the portrait that's the best known.

I wish I could tell you where it came from, but I've lost the
documentation over the years. It is identified as being a Holbein and
does look like one of his works.

I do remember emailing the museum, hoping that they could tell me more
about it, but they really couldn't. And I do remember that English was
not their native language.

I'll try to find a place to put the image so that y'all can see it.
I'll post the url when I can find webspace.

kate
PS--the blackwork on her chemise cuffs is also different than the
famous portrait!


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Subject: [h-cost] 
	Jane Seymour, was:  Holbein's portraits of Henry VIII wives
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I found it online. Go here:
http://www.kfki.hu/~arthp/art/h/holbein/hans_y/1535h/03seymou.jpg
It's in Mauritshuis, The Hague. 

kate

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I don't know how to tell you how... I guess it is sort of look up, then
down to place the stitch, then up as I draw it through, then down to
place another.  during the best scenes, all stitching might stop, or
during a scene which isn't very interesting or which I know well enough
to be able to follow it without looking I might not watch at all, but
mostly I do, even the boring scenes.   A boring scene could provide time
to do a very difficult part, but most hand stitching isn't that
difficult.   anyway, hope this helps.   Kitty

AlbertCat@aol.com wrote:
> 
> In a message dated 5/17/2004 4:28:28 PM Eastern Standard Time,
> drewscph@post12.tele.dk writes:
> 
> > With this much hand sewing, I
> > >>like to watch some of my favorite 'costume movies'.
> 
> How do you do this? I can either watch the movie or watch my stitching.
> 
> I usually put on some Bach or Stravinsky or maybe a Monteverdi or Handel
> opera and listen while I watch what I'm sewing.
> _______________________________________________
> 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 5/17/2004 11:05:41 PM Eastern Standard Time, 
basyefelton@floodcity.net writes:

> I don't know how to tell you how... I guess it is sort of look up, then
> down to place the stitch, then up as I draw it through, then down to
> place another. 

Thanks.....I'll give it a try....


Seriously, I wasn't being nasty or even advocating classical music. I mean, 
listen to what you want....and watch what you want. I know a lot of people who 
can watch TV and sew [and do other things too]. I can't. The screen will take 
my attention every time.
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From h-costume-bounces@indra.com  Tue May 18 00:29:38 2004
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To: "Historical Costume" <h-costume@indra.com>
References: <1d7.2167c771.2ddacab4@aol.com>
Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
Date: Tue, 18 May 2004 21:29:14 -0700
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Well, I find that I look up fairly frequently when I am really repetitive
things.  Things like the backstitching I use for handsewing gowns, the
farthingale and corsets.  Or hemming, seam finishing and other utility
stitching.

Plus, my eye doctor says that I have to decrease my eyestrain and 'pause' in
my sewing every 15 min because of my CTS.  I figured that if I'm supposed to
look up and rest my hands, I may as well look up and watch a few minutes of
a movie while my hands are resting.

No matter what I do, I listen to the movie while I'm sewing and just
watching when it seems to feel right for me to do that.

Anyhow, again, that is what works for me.  Everyone has a different thing
they do...whatever works is good.
Happy stitching!

Emer \ Gia
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Monday, May 17, 2004 7:11 PM
Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)


> In a message dated 5/17/2004 4:28:28 PM Eastern Standard Time,
> drewscph@post12.tele.dk writes:
>
> > With this much hand sewing, I
> > >>like to watch some of my favorite 'costume movies'.
>
> How do you do this? I can either watch the movie or watch my stitching.
>
> I usually put on some Bach or Stravinsky or maybe a Monteverdi or Handel
> opera and listen while I watch what I'm sewing.
> _______________________________________________
> 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 May 18 00:37:06 2004
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Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
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Yeah, that can happen. I can stitch for hours in total silence, oblivious to
everything and not know hours have passed.  Those times are rare and
cherished when they occur.

The stitching that requires my full attention is "counted" stitching, be it
tent stitch or cross stitch.  Where the design isn't drawn or painted on the
ground cloth I need to concentrate fully or I miscount and lose my place
easily.  The fact that I have an astygmatism makes it even harder; it's
frustrating when I have to look up at a 'bad time' like in the middle of
counting where I need to stitch.

Hope that helps!

Emer \ Gia
>
> Seriously, I wasn't being nasty or even advocating classical music. I
mean,
> listen to what you want....and watch what you want. I know a lot of people
who
> can watch TV and sew [and do other things too]. I can't. The screen will
take
> my attention every time.


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From h-costume-bounces@indra.com  Tue May 18 03:26:23 2004
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Date: Tue, 18 May 2004 00:20:24 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] brown and red repro fabrics on clearance
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>A few weeks ago we were talking about the new line of victorian repro 
>cotton prints in browns and reds that Hancock Fabrics is selling. They 
>must not be moving at all because my local store now has them on 
>clearance for $1 a yard, marked down from the regular $5.99 price.

How long is the sale?  Or is it just discounted?

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

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Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
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>Yeah, that can happen. I can stitch for hours in total silence, oblivious to
>everything and not know hours have passed.  Those times are rare and
>cherished when they occur.

No pictures or sound - that's me too.  I stitch with my hands, and usually
do something else with my brain, like working out the details of the living
history character who will be wearing the thing I'm sewing.

>The stitching that requires my full attention is "counted" stitching, be it
>tent stitch or cross stitch.  Where the design isn't drawn or painted on the
>ground cloth I need to concentrate fully or I miscount and lose my place
>easily.

While doing counted thread cross stitch I only have to concentrate on the
first half of each row, when I'm doing the actual counting.  The second
half is only going back and finishing the stitches I did in the first half,
so I can think some more about those living history characters (I'm
actually working on a character from the Harry Potter universe right now,
and doing cross stitch for that character's robe).  Obligatory costume
content for this paragraph:  I am making two Harry Potter style robes for
the opening of the third film in that series, and I'm relying heavily on
the Janet Arnold pattern book with the Renaissance robes in it.

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

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Subject: [h-cost] A Year in Review
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Status: RO

Hello everyone,

I am passing this also to you all on h-costume because of your wonderful support for my endeavors since 1996.  This is kind of a "State of the Union" message for our Library.

Next week is the one year anniversary of the new format and turning our Online Reference Library over to pay site. May 25 is our one year anniversary.   Our goal is to make our Library the largest collection of historic fashion reference material on the web.  We maintained the Library as a free site from June 1996 until May 2003.  Many thanks to so many people who believed enough to subscribe... you are pioneers.  Your subscriptions helps us to purchase more software and publications, and pay webspace costs.  

Many people have been working on making the dream / goal a reality... several people have been working on it, from our very first interns (graphic artists, typist, translators, and webpage designers), to our staff, instructors (who assist in dating the photographs and descriptions), planning committee, people who loan images and publications, and advertisers.  They are located all over the world.  Please take time to read the entire list of these people at the end of this message.  If you see one of these people online, please give them a big thank them for their hard work.  To date, we have over 2,100 webpages in our Library and countless images.

For the past six months, The Costume Gallery has been averaging visitors from 140 countries per month.  That is 60% of the countries in the world!  Every month we have more subscribers, and several have year subscriptions.  We are also offering subscriptions with three online classes.  We also have our first school as a group subscriber, the fashion design students at William Clark College in Australia.  We plan to approach other schools about group subscriptions.

NEW ORDER OF THE LIBRARY FRONT PAGE 
To make the Library easier to search, we are in the process of changing the front webpage of the Library.  It will contain six bookshelves instead of four.  If you go to the site within the week or so, and it looks strange, it is because we are adding the new shelves.  Here is a listing of what the new shelf order when complete:

The new order of the shelves:
#1. A Year in Fashion: Fashion Articles
#2. Vintage Books Online 
#3. Vintage Catalogs Online 
#4. Research by Topic
#5. Portfolio of Costumes
#6. Research by Time & Photo Collections

A lot of people do not realize how many books and catalogs we have online.  Honestly, we have so many that I even forgot until I listed them for Shashy, our graphic artist, for the re-modeling of the front page of the Library.  I do keep a webpage count for the Library.  Susan completed a 1902 Ladies' Shoe catalog yesterday... that brings the count up to 226 webpages in A Year of Fashion: 1902.  The two new shelves in the Library will be titled "Vintage Books Online" and "Vintage Catalogs Online."  If you want to see these titles, please check the listings below for what will be on these bookshelves:

VINTAGE BOOK SHELF:

Handbook of German Dress: http://www.costumegallery.com/germbook.htm
1852: Ladies' Indispensable Assistant: (excerpts)http://www.costumegallery.com/Book_1852/homepage.htm
1882 Etiquette: http://www.costumegallery.com/1882/Etiquette/
1921 Etiquette: http://www.costumegallery.com/1921/Etiquette/
1899 Hair Care Manual: http://www.costumegallery.com/1899/
1911 Sewing Manual: http://www.costumegallery.com/1911/Dressmaker/ 
1922 Color & Dress: http://www.costumegallery.com/1922/Color/

VINTAGE CATALOG SHELF:
1902 Ladies' Shoes: http://www.costumegallery.com//Library/1902/shoes/shoepage1.html
1910 Men's Shoes: http://www.costumegallery.com/1910/Men/Shoes/
1920 Ladies' Shoes: http://www.costumegallery.com/Library/1920/Shoes/
1922 Maternity Wear: http://www.costumegallery.com/1922/Maternity/
1922 Rubber Fashions: http://www.costumegallery.com/1922/Rubber/
1922 Hairdressing: http://www.costumegallery.com/Library/1922/WestBeauty/ 
1910 Menswear: http://www.costumegallery.com/1910/Men/Suits/
1923 Menswear: http://www.costumegallery.com/1923/Men/
1923 Band Uniforms: http://www.costumegallery.com/1923/Uniforms/
1923 Ladies Bathing Suits: http://www.costumegallery.com/Library/1923/Lombard/Swimsuits/

For those wanting to know from where we pull the articles and images for the A Year in Fashion  Articles series (1st shelf), here listing of the publications we have used:
***Ladies' Magazine: (1804, 1812, 1828)
***The Ladies' Cabinet of Fashion, Music and Romance: (1838)
***Peterson's Magazines: (1849, 1856, 1863, 1864, 1865, 1867, 1868, 1872, 1880) 
***Godey's Lady's Magazine: (1841, 1860, 1872, 1889)
***Frank Leslie's Gazette of Fashion: (1864, 1865)
***Ladies' Friend Magazine (1870)
***Delineator Magazine: (1881, 1882, 1886, 1893, 1894, 1896, 1897, 1900, 1901, 1902, 1920, 1921, 1922, 1923)  in-house... we have almost the entire collection of Delineator from 1880-1925. 
***Ladies' Home Journal: (1893, 1894, 1895, 1911, 1912)
***McCall's Magazine: (1908, 1911)
***Bulletin: monthly Journal of the National Retail Clothier's Association: (1918)
***L'Art et la Mode: (1920, 1921, 1922, 1923)

We have so many projects in the works for next year.  We are translating the website into different languages, Spanish, Italian, and French.  Here are some of our works in progress:

***Fashion Articles and/or Images for 1812, 1849, and 1872.
***Articles about Queen Victoria and other Royals of Europe... The Queen's Masquerade Ball 1845, her daughter's wedding, and the Queen's Jubilee.
***Costume Encyclopedia... massive project. A compilation of three costume books in a searchable database. 
***Continuing our Costume Heaven photo series.  These are photos of statues in cemeteries that are costumed dramatically.
***The complete book of Lord Chesterfield's etiquette from 1814.
***More additions to our series "Designers of Their Time."
***Lots more catalogs, books, and magazines.

CREDITS... who has been working on the Library:

Staff:
***Penny E. Ladnier: (1896-present): Virginia: owner, editor, layout designer, website designer, graphics, keeper of the publications and images.
***Susan Bosarge: (1999-present): Alabama: vice-chair of everything of the entire website, you will see her from the Classrooms to Library to the Costume Ball, she does bookkeeping, tech support,  web design, graphics, and teaches us new software and tricks.  She also works on all the shoe catalogs!  She is a shoe diva!
***Sharon (Shashy) Saracino: Pennsylvania: (2000-present) graphics guru, keeper of the graphics for the main pages of the library... yes, she made all the books and bookshelves.  She also does graphic design for the fashion plates, and types text!
***Dr. Nikki Delaney: (2003-present): Montana: Editor of the articles & fastest typist I have ever seen!
***Eloise Scroggins: (2004 to present): Mississippi: Bookkeeper.
***Joe Ladnier: (1996-present): Virginia: Database Administrator, and fixes all our computers when they break or go crazy, and assists with software. 

Instructors who assist with the Library:
Jennie Chancey: (2000-present): Virginia: Assists in dating and descriptions of photos.
Marna Jean Davis: (2001-present): Oklahoma: Assists in dating and descriptions of photos.  Loaned photos for the section, "A Brush with History: Vintage Hairstyles."

Library Review Committee: planned the transition of the Library to a pay site.
Penny Ladnier
Susan Bosarge
Shashy Saracino
Joy Matthews Hobbs
Marna Jean Davis
Angela Lazear
Rachel Torrey
Joe Ladnier

Costume Encyclopedia Crew:
Penny Ladnier: Compiler and website designer
Susan Bosarge: Graphic Design and their webpage designer
Nannette King: Literature character and historic costume consultant
Kate Bunting: Literature character and historic costume consultant
Dr. Nikki Delaney: Typist
Tania Gruning: Typist
Joe Ladnier: Database Adminstrator

Translators for the Library:
Dalila de Leon: Mexico: translating to Spanish
Joseph & Giovanna Pedicini: Virginia: translating to Italian
Christy Bickerstaff: Michigan: translating to French

Interns for the Library:
***Kelly Rinne: (1997-1999): Michigan: Our first intern! Graphics and webpage design 
***Minty (2000): New Zealand: Designed, typed, and graphic artist, for the Ladies Fashions in A Year in Fashion: 1893.
***Kimiko Small: (2003-present): California: graphics and webpage design
***Deborah Barclay: (2003-present): started out in Germany, now in England: typist, graphics, and webpage design.
***Anita Kindt: (2003): Colorado: typist
***Jennifer Kopaska: (2003): Iowa: typist and webpage design.
***Michelle Hain: (2003): California: typist
***Dianne Stucki: (2003): Pennsylvania: Typist 
***Dalila de Leon: (2003-present): Mexico: Typist and really fast!
***Shirley Hobbs: (2003-present): Arizona: Typist... another really fast one!
***Maida Pirich: (2003-present): California: Typist and Excel (spreadsheet) guru!
***Tania Gruning: (2003-present): Denmark: Another fast typist!  She has typed entire books in a few days!
***Miche Todd: (2003-present): Kentucky: Crochet and Knitting typist... bless her heart, this is not easy to type these pattern instructions.
***Christy Bickerstaff: (2003-present): Michigan: Lace pattern and Delineator typist... bless her heart too, this is not easy to type these pattern instructions either.
***Judith Miller: (2003-present): Kansas: Crochet and Knitting typist... also shares her Peterson's collection with us.
***Julianne Bramson: (2003): California: typist
***Rachel Torrey: (2003-present): California: typist specializing in royalty costumes.
***Joy Matthew Hobbs: (2003-present): Wyoming: typist for Peterson's and Godey's magazines.
***Yvette Miller: (2003-present): England: typist
***Crystal Fitch: (2003): California: typist

We would also like to thank all those people who loaned publications, images, or software assistance to use in the Library over the years: Mary Lovejoy, Karen Augusta, Nancy S. in Maryland, the business Making Time, Shashy, Judy Miller, Arlene Bartnik, Drea Leed, and several others!  

We would also like to thank the members of the h-costume email list for all their support over the years.  They have encouraged me daily since 1996!

Here's to another grand year of learning!
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 May 18 08:20:47 2004
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <20040517205625.41036.qmail@web14006.mail.yahoo.com>
Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
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"Wives and Daughters", "The Aristocrats", any version of the Bronte films,
any version of "Tom Jones" will do for me.  And oh yes, "War and Peace".  I
have three different sets of that.  I find it interesting to compare the
various productions.
Kathleen
----- Original Message ----- 
From: "Catalina Saravia Quicedo" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 17, 2004 4:56 PM
Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)


> I like the "Three Musketeers" with Michael York.
> Except for Raquel Welch's dresses of course.
>
> Catalina
>
>
> --- Kitty Felton <basyefelton@floodcity.net> wrote: >
> Oh, now that's a subject I'm interested in, what's
> > your favorite?   I've
> > loved the Scarlett Pimpernell with Jane Seymour and
> > Anthony andrews
> > since I first saw it in the seventies?   and any
> > western known to man,
> > except the Unforgiven and their ilk.  LOL   someone
> > tell us your's.
> > Kitty
> >
>
>
> =====
> Catalina
> Aurum peccamenes multifariam texit
>
>
>
>
>
> ____________________________________________________________
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> your friends today! Download Messenger Now
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Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
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I have had the uncanny experience of NPR featuring the music of what ever
period I have the luck of sewing on.
Kathleen
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Monday, May 17, 2004 10:11 PM
Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)


> In a message dated 5/17/2004 4:28:28 PM Eastern Standard Time,
> drewscph@post12.tele.dk writes:
>
> > With this much hand sewing, I
> > >>like to watch some of my favorite 'costume movies'.
>
> How do you do this? I can either watch the movie or watch my stitching.
>
> I usually put on some Bach or Stravinsky or maybe a Monteverdi or Handel
> opera and listen while I watch what I'm sewing.
> _______________________________________________
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Oooh! Oooh! I sense an impending scholarly discussion ;o), because I 
can't think of a *single* 16th c. painting that shows a drawstring 
neckline in a shift or camicia.
Necklines tied with cord, yes, but not adjustable/gathery.
--sue

Catalina Saravia Quicedo wrote:
> if you tell us which period, we can probably point you
> in the right direction. Several of Tiziano's paintings
> show women in drawstring neck chemises, but that is
> the 16th century in Italy.

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From: Sue Clemenger <mooncat@in-tch.com>
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Guys, wouldn't it depend a *lot* on how wide the fabric was? And how 
much "cabbage" was left over? (I hereby volunteer to take it! ;o)
--sue

Saragrace T. Knauf wrote:

> .
> 
>>Do you really believe this that they used 60 meters?
>>
>>Bjarne
> 
> [Sg] Nope!


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I watched the 1st two hours last night--a nice surprise, since I didn't 
know that this was "the" week.
It looks pretty good, so far.  They've got a good variety of people. 
The clothing looks pretty good, as far as I can tell, although the 17th 
c.'s not exactly my field of expertise <g>
I caught a couple of things--I wondered about the women tending to wear 
their stays without another layer over the top--they did have jackets of 
some sort, and the governor's wife was often wearing more than that. 
Since these were definitely stays, rather than boned bodices, I didn't 
know if that was an intentional class-division thing, or an oops.
The closures looked good--necklines on shifts tied shut through 
buttonholes, tied closures on at least one of the women's jackets, and I 
saw some pewter? buttons in there, somewhere.  Wondered briefly about 
the cross-lacing on the bodices, though (noticed it on the governor's 
wife, and, I think, on some of the women wearing the stays over their 
shifts.
I really liked the variety of knitted caps the men were wearing--saw one 
that looked more like a flat cap, and there were some that looked like 
ordinary knitted caps, with a turned-up edge.  Does anyone know what 
they used for the source for these? The Gunnister find, maybe?
--sue, looking forward to tonight!

Kimiko Small wrote:

> Hi All,
> 
> I just caught Oprah today, and she was promoting "Colonial House" which 
> starts tonight on PBS. More info here at the website.
> http://www.pbs.org/wnet/colonialhouse/
> 
> It looked rather interesting, and is set in 1628. The costumes looked 
> interesting at least, and Oprah and Gail didn't like not wearing modern 
> undies, especially losing the panties. I have it scheduled on our Tivo, 
> and I hope it is as informative and interesting as Pioneer House was.
> 
> Anyway, I thought I would share for those who are interested.
> 
> Kimiko


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Subject: Re: [h-cost] ot danish wedding
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Hi Cynthia,
Yes my first thoaght was about the train attachment. And you are right. The
first portion of the train is cut like the back piece of the bodice and then
it is hooked to the bodice on top and sides. But you really had to look very
close to find that out.

Bjarne


----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1100397094.f6f17e@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 3:51 AM
Subject: Re: [h-cost] ot danish wedding


> I've been trying to figure out how the train is attached.  It looks, in
> some of the views from the side-back, that there's a panel which goes up
> the back bodice?  So the train isn't carried from the waist like some,
> but from the whole back of the bodice.  Maybe concealed hooks there so
> it can come off, because surely it must, so the woman could *move* after
> the ceremony!
>
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
>
> Losing weight is like chipping away at boulder with a toothpick.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] ot danish wedding
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I have four wedding gowns from the first quarter of the 20th C and this is
how three of them are carrying the train.  The effect is that they flow from
the shoulder and tend to keep their extension smoother without buckling.
Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 9:38 AM
Subject: Re: [h-cost] ot danish wedding


> Hi Cynthia,
> Yes my first thoaght was about the train attachment. And you are right.
The
> first portion of the train is cut like the back piece of the bodice and
then
> it is hooked to the bodice on top and sides. But you really had to look
very
> close to find that out.
>
> Bjarne
>
>
> ----- Original Message ----- 
> From: "Cynthia Virtue" <cvirtue+dated+1100397094.f6f17e@thibault.org>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, May 18, 2004 3:51 AM
> Subject: Re: [h-cost] ot danish wedding
>
>
> > I've been trying to figure out how the train is attached.  It looks, in
> > some of the views from the side-back, that there's a panel which goes up
> > the back bodice?  So the train isn't carried from the waist like some,
> > but from the whole back of the bodice.  Maybe concealed hooks there so
> > it can come off, because surely it must, so the woman could *move* after
> > the ceremony!
> >
> > -- 
> > Cynthia Virtue and/or
> > Cynthia du Pré Argent
> >
> > Losing weight is like chipping away at boulder with a toothpick.
> > _______________________________________________
> > 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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Great!  I look forward to this series being shown on British TV.

Yes, Sue, it's thought that working women in the 17th century probably
did wear a stiffened bodice on its own rather than a bodice with
separate stays underneath..



Kate Bunting
Library, University of Derby
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Subject: [h-cost] Re: Colonial House series
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I'm not Sue, but it looked odd to me that they were wearing their
corsets without something over them.

The garments did not look like a stiffened bodice--the front end of
the straps tie to the top of the garment, just as a corset does. It
looked very like this image from Drea's website (but with a less
exaggerated point): http://costume.dm.net/wardrobe/corset/corset2.jpg.
At least one garment hooked in the front and also laced up the back.
They were also referred to as corsets by the colonists (not that it's
a definitive remark, just that they said it).

Just my .02

kate
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 10:06 AM
Subject: Re: [h-cost] Colonial House series


> Great!  I look forward to this series being shown on British TV.
>
> Yes, Sue, it's thought that working women in the 17th century
probably
> did wear a stiffened bodice on its own rather than a bodice with
> separate stays underneath..
>
>
>
> Kate Bunting
> Library, University of Derby
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Carolyn Kayta Barrows wrote:


> How long is the sale?  Or is it just discounted?

It's on clearance, which around here means until it is sold. At a dollar 
a yard I don't expect it to stay around too long, maybe a few weeks.


Dawn



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The first four hours of this series(continues through Wednesday)was on my
local PBS station last night.

The first two things I noticed(costume-wise)was that the women's coifs(when
they chose to wear them)were either inadequate to cover their hair or were
worn that way and that the gromments on garments like the pair of
bodies(stays)were definately modern. Most of the cast appeared as though
they tried to wear to provided costumes like modern clothing--understandable
when working, but not on the Sabbath. Of course the women rebelled when
modesty "laws" were enforced, but frankly they didn't seem to get the
idea(the "cast" had two weeks of intensive training at Plimouth Plantation
before they traveled to the Colonial House site)that covering the hair could
be very practical--cover bad hair days, keep hair out of the way, and that
there was no time to fuss with hair.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kate M Bunting
Sent: Tuesday, May 18, 2004 9:07 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Colonial House series


Great!  I look forward to this series being shown on British TV.

Yes, Sue, it's thought that working women in the 17th century probably
did wear a stiffened bodice on its own rather than a bodice with
separate stays underneath..



Kate Bunting
Library, University of Derby
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Subject: RE: [h-cost] brown and red repro fabrics on clearance
Date: Tue, 18 May 2004 10:09:44 -0500
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Granted these red and brown repro prints would appeal to a small market. I
haven't done a lot of research into 19th century fabrics, but I think the
maker could have chosen patterns and colors that would have appealed much
more to the modern eye as I've seen 19th century calicos in prints and
colors that in complexity and beauty put modern calicos to shame. And there
are plenty of surviving pre aniline dye fabrics that prove that clothing was
not at all drab pre 1860's. The existing dyes, even vegetable dyes, could
create vivid colors.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Dawn
Sent: Monday, May 17, 2004 7:54 PM
To: Historical Costume
Subject: [h-cost] brown and red repro fabrics on clearance


All,

A few weeks ago we were talking about the new line of victorian repro
cotton prints in browns and reds that Hancock Fabrics is selling. They
must not be moving at all because my local store now has them on
clearance for $1 a yard, marked down from the regular $5.99 price.

So if mid-1800's is your thing, check it out.



Dawn



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In a message dated 5/18/2004 9:55:12 AM Eastern Standard Time, 
rmitchell@washjeff.edu writes:
it can come off, because surely it must, so the woman could *move* after
> > the ceremony!
> >
It definitely was not on at the reception--one of the many pictures was a 
great back view.

Really enjoyed the pictures of all the guests--weren't some of the men's 
uniforms absolutely glorious?  Very comic operetta looking.

And to think, there's another royal wedding this weekend!

Ann Wass
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Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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What a coincidence! I was just putting together a brief analysis of the 
differences between the Vienna Holbein painting and the Hague version. 
I've linked it to the Tudor portfolio page, or you can go to it directly 
from here:
http://www.uvm.edu/~hag/sca/tudor/jane-notes.html

- Hope

> On 23:35 17/05/2004 angelalazear said
>> Does anyone know of an online source, or a  book where I can obtain 
>> reprints
>> of the portraits of Henry VIII's wives that are in the State museum in
>> Germany?

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Subject: [h-cost] Civil War pattern background
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For those who are interested, Simplicity has put the information about 
their new line of Civil War patterns on their website.

http://www.simplicity.com/index.cfm?page=section/civilWar/index.html

For example:

"Patterns 5035 & 5023 - Shirts
# A bit of shirt history
# Four shirt styles and how they differ
# Who wore Squares and Rectangles
# The overshirt
# Laundry marking
# Original shirt with details
# Placket-front workman's shirt"

Each short article has background, explanations, plus pictures and 
photos of the garments the pattern was based on.

I plan to do a lot of clicking on the Simplicty site...



Dawn



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Date: Tue, 18 May 2004 15:42:07  0000
From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>
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Ok, I really feel like an ostrich!  ; )  Another royal wedding?  Whose?  I wasn't even aware of this one until the stuff showed up on this list!

Cheers,
Danielle in PhD land...

>In a message dated 5/18/2004 9:55:12 AM Eastern Standard Time, 
>rmitchell@washjeff.edu writes:
>it can come off, because surely it must, so the woman could *move* after
>> > the ceremony!
>> >
>It definitely was not on at the reception--one of the many pictures was a 
>great back view.
>
>Really enjoyed the pictures of all the guests--weren't some of the men's 
>uniforms absolutely glorious?  Very comic operetta looking.
>
>And to think, there's another royal wedding this weekend!
>
>Ann Wass
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Need a new email address that people can remember
Check out the new EudoraMail at
http://www.eudoramail.com
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Subject: Re: [h-cost] Civil War pattern background
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Oh, sure, they couldn't have had this around about 5 years ago when I was
doing Old Sacramento Living History!  I had to make my own patterns!

I wish them luck with this line, it sounds great.

                   .
                 /'
                //
            .  //
            |\//7
           /' " \
          .   . .
          | (    \     '._
          |  '._  '    '. '
          /    \'-'_---. ) )
         .              :.'
         |               \
         | .    .   .     .
         ' .    |  |      |
          \^   /_-':     /
          / | |    '\  .'
         / /| |     \\  |
         \ \( )     // /
          \ | |    // /
           L! !   // /   Joan Broneske
            [_]  L[_|    unicorn@surewest.net

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 8:34 AM
Subject: [h-cost] Civil War pattern background


> For those who are interested, Simplicity has put the information about
> their new line of Civil War patterns on their website.
>
> http://www.simplicity.com/index.cfm?page=section/civilWar/index.html
>
> For example:
>
> "Patterns 5035 & 5023 - Shirts
> # A bit of shirt history
> # Four shirt styles and how they differ
> # Who wore Squares and Rectangles
> # The overshirt
> # Laundry marking
> # Original shirt with details
> # Placket-front workman's shirt"
>
> Each short article has background, explanations, plus pictures and
> photos of the garments the pattern was based on.
>
> I plan to do a lot of clicking on the Simplicty site...
>
>
>
> Dawn
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>


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How about the man in the Iron Mask, with Richard Camberlain.  (I know I
spelled that wrong.)  

anyway, as period films go just for watching, the masked ones where
someone's identity is hidden, are the most fun for me.   One I would
love to see in film would be Georgette Heyer's The Masquaraders.  that
was one of the fun books of all time.  actually though, just about any
of Georgette Heyer's books would be fun to watch.
	Kitty

Catalina Saravia Quicedo wrote:
> 
> I like the "Three Musketeers" with Michael York.
> Except for Raquel Welch's dresses of course.
> 
> Catalina
> 
> --- Kitty Felton <basyefelton@floodcity.net> wrote: >
> Oh, now that's a subject I'm interested in, what's
> > your favorite?   I've
> > loved the Scarlett Pimpernell with Jane Seymour and
> > Anthony andrews
> > since I first saw it in the seventies?   and any
> > western known to man,
> > except the Unforgiven and their ilk.  LOL   someone
> > tell us your's.
> > Kitty
> >
> 
> =====
> Catalina
> Aurum peccamenes multifariam texit
> 
> 
> 
> 
> ____________________________________________________________
> Yahoo! Messenger - Communicate instantly..."Ping"
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In a message dated 5/18/2004 11:19:52 AM Eastern Standard Time, 
dawn@reddawn.net writes:
For those who are interested, Simplicity has put the information about 
their new line of Civil War patterns on their website.
And I understand that more notes are in process, so check back again later.
Ann Wass
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From: Kitty Felton <basyefelton@floodcity.net>
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AlbertCat@aol.com wrote:

> 
> Seriously, I wasn't being nasty or even advocating classical music. I mean,
> listen to what you want....and watch what you want. I know a lot of people who
> can watch TV and sew [and do other things too]. I can't. The screen will take
> my attention every time.

Oh, I didn't take it as nasty, each person finds their comfort level, I
think I get bored watching movies, so the stitching is a better way to
occupy myself than to eat which is my other boredom reducer.  LOL I like
Classical music, when I hear it.  but there are few pieces I hear often
enough to recognize, and til I do, I don't get much joy out of most of
it.   
	Well, have fun, I'm going to try to find a Handcocks.  LOL
I feel a new dress coming on.   Kitty

Kitty

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In a message dated 5/18/2004 11:43:06 AM Eastern Standard Time, 
dannw@eudoramail.com writes:
Ok, I really feel like an ostrich!  ; )  Another royal wedding?  Whose?  I 
wasn't even aware of this one until the stuff showed up on this list!
The crown prince of Spain is getting married May 22.
Ann Wass
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Subject: Re: [h-cost] Colonial House series
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And I was bothered that the preacher's wife had her hair carefully arranged
as to look slightly unkempt.This too is a modern concept I see every day
with the under 20 crowd. Put with the modern slang that the characters use
on a regular basis, there is a falsity that they certainly didn't get from
Plimouth!  I had a lot of problems with the 'script' as usual, and this
certainly spoiled the visual 'study' of 17th C life for me.
Kathleen
----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 11:03 AM
Subject: RE: [h-cost] Colonial House series


> The first four hours of this series(continues through Wednesday)was on my
> local PBS station last night.
>
> The first two things I noticed(costume-wise)was that the women's
coifs(when
> they chose to wear them)were either inadequate to cover their hair or were
> worn that way and that the gromments on garments like the pair of
> bodies(stays)were definately modern. Most of the cast appeared as though
> they tried to wear to provided costumes like modern
clothing--understandable
> when working, but not on the Sabbath. Of course the women rebelled when
> modesty "laws" were enforced, but frankly they didn't seem to get the
> idea(the "cast" had two weeks of intensive training at Plimouth Plantation
> before they traveled to the Colonial House site)that covering the hair
could
> be very practical--cover bad hair days, keep hair out of the way, and that
> there was no time to fuss with hair.
>
> Cindy Abel
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Kate M Bunting
> Sent: Tuesday, May 18, 2004 9:07 AM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Colonial House series
>
>
> Great!  I look forward to this series being shown on British TV.
>
> Yes, Sue, it's thought that working women in the 17th century probably
> did wear a stiffened bodice on its own rather than a bodice with
> separate stays underneath..
>
>
>
> Kate Bunting
> Library, University of Derby
> _______________________________________________
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Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
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On Tue, 18 May 2004, Kitty Felton wrote:

> One I would love to see in film would be Georgette Heyer's The
> Masquaraders.  that was one of the fun books of all time.  actually
> though, just about any of Georgette Heyer's books would be fun to
> watch.

Oh yes! I can't imagine why I haven't seen *any* of them in a screen
version. I wonder if there's some issue with the estate? Many worse books
have been brought to screen.

"The Masqueraders" would be especially good from a costume standpoint, of
course. Casting that one should be fun, since both the young man and the
young woman have to cross-dress convincingly. Or "These Old Shades" with
the powdered hair and the various class contrasts, and isn't there some
cross-dressing there too?

--Robin


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Oh my gosh!  I *love* Georgette Heyer's work!  I would love to see any of
her books translated onto the big screen!  Every time I read her books, I
can almost *see* the costumes and the settings.  The masquaraders is one of
my favorites.  But, unfortunately I had lost many in a fire years ago and
just haven't replaced them all yet.

Emer \ Gia
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 9:22 AM
Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)


> How about the man in the Iron Mask, with Richard Camberlain.  (I know I
> spelled that wrong.)
>
> anyway, as period films go just for watching, the masked ones where
> someone's identity is hidden, are the most fun for me.   One I would
> love to see in film would be Georgette Heyer's The Masquaraders.  that
> was one of the fun books of all time.  actually though, just about any
> of Georgette Heyer's books would be fun to watch.
> Kitty
>
> Catalina Saravia Quicedo wrote:
> >
> > I like the "Three Musketeers" with Michael York.
> > Except for Raquel Welch's dresses of course.
> >
> > Catalina
> >
> > --- Kitty Felton <basyefelton@floodcity.net> wrote: >
> > Oh, now that's a subject I'm interested in, what's
> > > your favorite?   I've
> > > loved the Scarlett Pimpernell with Jane Seymour and
> > > Anthony andrews
> > > since I first saw it in the seventies?   and any
> > > western known to man,
> > > except the Unforgiven and their ilk.  LOL   someone
> > > tell us your's.
> > > Kitty
> > >
> >
> > =====
> > Catalina
> > Aurum peccamenes multifariam texit
> >
> >
> >
> >
> > ____________________________________________________________
> > Yahoo! Messenger - Communicate instantly..."Ping"
> > your friends today! Download Messenger Now
> > http://uk.messenger.yahoo.com/download/index.html
> > _______________________________________________
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I wish someone (perhaps BBC) would film Emily's Eden's _The 
Semi-Attached Couple_, written I think in the 1830s.  It's the closest 
work to Jane Austen's I've ever read.

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

Gia wrote:

>Oh my gosh!  I *love* Georgette Heyer's work!  I would love to see any of
>her books translated onto the big screen!  
>
>  
>

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Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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On 16:11 18/05/2004 Hope Greenberg said
>What a coincidence! I was just putting together a brief analysis of the 
>differences between the Vienna Holbein painting and the Hague version. 
>I've linked it to the Tudor portfolio page, or you can go to it directly 
>from here:
>http://www.uvm.edu/~hag/sca/tudor/jane-notes.html

Interesting! However, you did refer to the drawing as being a study for the 
"Whitechapel" fresco! I'm sure it was a slip of the keyboard!
My thesis was on the secularisation of iconography, and the Holbein fresco 
formed a major part of the study, so I was particularly interested in your 
study of the jewellery on the figure of Jane Seymour. Holbein was a 
jewellery designer (some studies survive) so he might have designed more 
than the painting!


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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Subject: [h-cost] Re: Colonial House series
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>>> ailith@neo.rr.com 5/18/04 4:00:02 PM >>>
>I'm not Sue, but it looked odd to me that they were wearing their
>corsets without something over them.

>The garments did not look like a stiffened bodice--the front end of
>the straps tie to the top of the garment, just as a corset does. It
>looked very like this image from Drea's website (but with a less
>exaggerated point):
http://costume.dm.net/wardrobe/corset/corset2.jpg.
>Just my .02

>kate

Well, of course I haven't seen the series. I was thinking of
http://www.vincents.demon.co.uk/stays/stays.htm#Pattern 
which describes a garment that can double as stays or a working-woman's
bodice.




Kate Bunting
Library, University of Derby
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Colonial House series
Date: Tue, 18 May 2004 13:01:55 -0500
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Yes, that too.  The PBS website claimed that there were over 10,000
applicants. I wonder how many that didn't make the cut were actually had at
least some background in the period: whether it be costume, food, overall
culture, building and handicrafts, or whatever. I think the raison d'etre
for the shows are kind of upscale Survivor--take 21st century persons and
fit them in as to what their social status might have been in that time and
see how they react.

PBS is supposed to start casting for the next "House" series in Nov or Dec.
Don't know the year--suprised they haven't managed Civil War House or
Revolutionary(American) House yet, but perhaps all interested listmembers
should apply and see if any of us make the cut. And if not, why?

What would really be interesting, although it would cost the major networks
too much money is to do a House or even "Village" or "Town" historic series
and put people in teams(of course this wouldn't work being non-competitive)
with one set of participants chosen as they are now and another set with
some expertise in different aspects of the period chosen.
The second group would really be expected to adhere to the period's customs,
laws, etc and see if they really could time-travel.

Cindy Abel

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lloyd Mitchell
Sent: Tuesday, May 18, 2004 11:39 AM
To: Historical Costume
Subject: Re: [h-cost] Colonial House series


And I was bothered that the preacher's wife had her hair carefully arranged
as to look slightly unkempt.This too is a modern concept I see every day
with the under 20 crowd. Put with the modern slang that the characters use
on a regular basis, there is a falsity that they certainly didn't get from
Plimouth!  I had a lot of problems with the 'script' as usual, and this
certainly spoiled the visual 'study' of 17th C life for me.
Kathleen
----- Original Message -----
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 11:03 AM
Subject: RE: [h-cost] Colonial House series


> The first four hours of this series(continues through Wednesday)was on my
> local PBS station last night.
>
> The first two things I noticed(costume-wise)was that the women's
coifs(when
> they chose to wear them)were either inadequate to cover their hair or were
> worn that way and that the gromments on garments like the pair of
> bodies(stays)were definately modern. Most of the cast appeared as though
> they tried to wear to provided costumes like modern
clothing--understandable
> when working, but not on the Sabbath. Of course the women rebelled when
> modesty "laws" were enforced, but frankly they didn't seem to get the
> idea(the "cast" had two weeks of intensive training at Plimouth Plantation
> before they traveled to the Colonial House site)that covering the hair
could
> be very practical--cover bad hair days, keep hair out of the way, and that
> there was no time to fuss with hair.
>
> Cindy Abel
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Kate M Bunting
> Sent: Tuesday, May 18, 2004 9:07 AM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Colonial House series
>
>
> Great!  I look forward to this series being shown on British TV.
>
> Yes, Sue, it's thought that working women in the 17th century probably
> did wear a stiffened bodice on its own rather than a bodice with
> separate stays underneath..
>
>
>
> Kate Bunting
> Library, University of Derby
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> _______________________________________________
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Subject: Re: [h-cost] Colonial House series
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In a message dated 5/18/04 10:04:30 AM Central Daylight Time, 
brujne@creighton.edu writes:
Of course the women rebelled when
modesty "laws" were enforced, but frankly they didn't seem to get the
idea(the "cast" had two weeks of intensive training at Plimouth Plantation
before they traveled to the Colonial House site)that covering the hair could
be very practical--cover bad hair days, keep hair out of the way, and that
there was no time to fuss with hair.

I noticed that as well.  My hair is not far from being waist length, and when 
I'm working, hot, or just aggravated with it (which is probably a good 80% of 
the time) it is up in some manner.  It just amused me to see these women on 
the show who were determined to have their hair straggling around their faces 
and shoulders...obviously they don't realize (yet) that women in the past put 
their hair up neatly for more reasons than just modesty.

-Tiffany
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: RE: [h-cost] Colonial House series
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My own opinion of the plethora of 'House' series is that it panders to the 
penchant of people who enjoy gawking at people getting frustrated while 
trying to live an alien lifestyle. I'll betcha that an historian who was 
expert in the period would be passed over in favor of somebody that would 
titillate the audience with her behavior while trying to cope in this 
foreign environment. The motivation for authenticity is that the more 
authentic the environment is, the more difficult it will be for modern 
people to cope.

As always, my opinion

Katie


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Subject: [h-cost] Re: Colonial House series
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I'm prefacing this with a caveat: I haven't seen the
series yet as I had class last night, so my DH taped
it for me. However, the series was the topic of a
quick discussion on another list with a person that
works at Plimoth Plantation (it came up as part of a
discussion on clome ovens, way off-topic for this
list).

Anyway, she mentioned that Plimoth Plantation, while
heavily involved in creating the series, did NOT
supply the wardrobe for the "colonists"; they supplied
the wardrobe for a later development (I'm trying not
to give too much of the plot away), along with
furniture for the houses, some food stuffs (salt pork
and the such), and several weeks of training so people
wouldn't set themselves on fire trying to cook or cut
their limbs off using an unfamiliar tool.

>From the clips I've seen as part of the advertising
run-up to the series premiere last night, it appeared
to me that the women "colonists" were working in their
corsets, but not their bodices; for those that haven't
seen the series yet, if you've ever been at a LH
demonstration before/after hours, while people are
getting ready, most of the women I saw looked about
the same as 15th/16th C. women reenactors when they
gotten as far as putting on their shifts, corsets,
petticoats and skirts, but haven't put their bodices
or sleeves on yet. A check of the PBS Web site page to
"meet the colonists" reveals that yes, these women
were running around in what most of us would consider
their underwear. The same appears to hold true for the
men--if the photos on the Web site are any indication,
only the 2 men from the UK seem to realize that a
"civilized" man was not seen in his shirt sleeves. 

I'm curious to see this series, as my DH and I applied
to participate, and were turned down, as were probably
any other active historical reenactors--we simply make
it look too easy <grin>, and where's the drama in that
for the average American viewer? Barring an Indian
attack or an outbreak of smallpox, about the only
"drama" the producer can work with is how miserable a
bunch of ill-prepared 21st century people are as they
try to deal with living in the early 17th century. Or
do I sound too cynical?

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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I just saw again....after a long while..."Death on the Nile". Brilliant 
costumes....and wonderful evil fun.

"Evil Under the Sun" was great too! [same production group]

And we all remember "Murder on the Orient Express" but it seems to not be on 
tape or disc.
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In a message dated 5/18/04 1:05:55 PM Central Daylight Time, 
brujne@creighton.edu writes:
What would really be interesting, although it would cost the major networks
too much money is to do a House or even "Village" or "Town" historic series
and put people in teams(of course this wouldn't work being non-competitive)
with one set of participants chosen as they are now and another set with
some expertise in different aspects of the period chosen.
The second group would really be expected to adhere to the period's customs,
laws, etc and see if they really could time-travel.


I think this is a SPECTACULAR idea, I think you should write or e-mail the 
networks and suggest it!  Interest in living history has grown over recent years 
with the general public thanks to all the hit movies that have had period 
settings.  And heck, if Oprah is willing to go sit in a 17th century setting for 
a couple of days for her show, who's to say a major network wouldn't ante up!  
It couldn't possibly be more expensive than financing the crews and casts of 
the various Survivor shows in such remote locations.

I think it would be hilarious if there were a Celebrity Colonial House, 
myself.  Except America gets to choose the celebrities.  I nominate Nicole Kidman, 
for one - let's see if she can be that graceful and elegant without the 
hairdresses, makeup artists and clothing experts. ::grin::

-Tiffany
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Nah, I think you hit the nail in the head...  

Emer \ Gia
> I'm curious to see this series, as my DH and I applied
> to participate, and were turned down, as were probably
> any other active historical reenactors--we simply make
> it look too easy <grin>, and where's the drama in that
> for the average American viewer? Barring an Indian
> attack or an outbreak of smallpox, about the only
> "drama" the producer can work with is how miserable a
> bunch of ill-prepared 21st century people are as they
> try to deal with living in the early 17th century. Or
> do I sound too cynical?
> 
> Dawn
> 
> =====
> Dawn Jacobson


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Dawn Jacobson wrote:
> or sleeves on yet. A check of the PBS Web site page to
> "meet the colonists" reveals that yes, these women
> were running around in what most of us would consider
> their underwear.

Not only that, but many of the shoulder straps were falling sideways 
much of the time, so they weren't put on right, somehow.

I found it rather interesting.  Less whining and interpersonal sniping 
than the one episode of Frontier House I watched.  Still plenty of "no 
way would they have done that in the period."

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Subject: Re: [h-cost] Re: Colonial House series
Date: Tue, 18 May 2004 14:37:23 -0400
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----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 2:01 PM
Subject: [h-cost] Re: Colonial House series
>
> Well, of course I haven't seen the series. I was thinking of
> http://www.vincents.demon.co.uk/stays/stays.htm#Pattern
> which describes a garment that can double as stays or a
working-woman's
> bodice.

Interesting! I don't do 17th century, just observing, you know? :-)

I did go to look at the website mentioned above and got the idea that
the bodice was boned on the inside, perhaps? The stays are very
visible as well as the unboned area where the breasts would rest.

If you go to:
http://www.pbs.org/wnet/colonialhouse/media/photos4.html
and click on the 4th picture from the left, top row, you can see what
I'm referring to.

Is what's in the photo correct for the time of 1628?

Just curious.

The other Kate


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I totally agree. These series are entertainment under the guise of 
education. Their popularity keeps the funding coming in.

As always, my opinion.

Katie


>we simply make
>it look too easy <grin>, and where's the drama in that
>for the average American viewer? Barring an Indian
>attack or an outbreak of smallpox, about the only
>"drama" the producer can work with is how miserable a
>bunch of ill-prepared 21st century people are as they
>try to deal with living in the early 17th century. Or
>do I sound too cynical?
>Dawn



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I still want to see a series like this with two teams.  One comprised of 
the average Joe's and the other team all "avid recreational 
historians"  aka ringers.  It would be interesting to see how the two 
groups approached problems.
Bridgette


>>we simply make
>>it look too easy <grin>, and where's the drama in that
>>for the average American viewer? Barring an Indian
>>attack or an outbreak of smallpox, about the only
>>"drama" the producer can work with is how miserable a
>>bunch of ill-prepared 21st century people are as they
>>try to deal with living in the early 17th century. Or
>>do I sound too cynical?
>>Dawn

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Hey!  I just noticed your sig line!  Congratulations on your success!
Another doctor in the house  (hee hee)!

Emer \ Gia
> Cheers,
> Danielle in PhD land...


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>>> fran@lavoltapress.com 5/18/04 6:08:17 PM >>> wrote:
>I wish someone (perhaps BBC) would film Emily's Eden's _The 
>Semi-Attached Couple_, written I think in the 1830s.  It's the closest

>work to Jane Austen's I've ever read.

I'd never heard of her, but according to the Cambridge Guide to English
Literature the novel was published 1860 but written 30 years earlier.
She also wrote "The Semi-detached House" . I'll have to look out for
them - they sound interesting.


Kate Bunting
Library, University of Derby
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I seem to be about the only one, but I actually think that PBS has taken the
right tack by casting people who are overall, pretty ignorant about the
daily life in whichever historical era they choose for one of these. The
idea behind this series is to highlight the differences between 1628 and
2004, and that just plain works better when you have people who are
completely unaccustomed to 1628. They're more able to point out what's
strange to them than someone who's gotten used to the strangeness, and their
reactions are more understandable to a 2004 audience. These series were just
never meant to be a documentary of an accurate reenactment; they have a
different goal entirely, and part of that goal is to entertain. The series
still winds up being educational, but in a different way--you learn from
watching people mess up, rather than watching them do it all just right.

That said, I think it's possible to go in a different direction and still
keep a lot of that. I think that whole Colonial House meets Survivor thing
would be great, although I wouldn't make it tyros vs reenactors. I'd give
each side a nice even mix of experience levels, and maybe use it to battle
out conflicting theories--whose interpretation works best? Even a simple
competition of which theoretically equal group becomes wealthier in 1628
terms--better harvest, more prepared for winter like on Fronteir house,
etc--would be more interesting to me than just the question of whether they
can survive, period. But with a mix of experience levels, you'd still have
the sheer amusement value of the current series.

-E

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Subject: [h-cost] Murder on the Orient Express
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I have not seen Murder on the Orient Express, are the costumes good?

Amazon.com sells it on both tape and DVD.  I found it by going to their home page and doing searches for these formats with the keywords "Orient Express."

Fran
http://www.lavoltapress.com


>And we all remember "Murder on the Orient Express" but it seems to not be on 
>tape or disc.


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These two books were reprinted in one paperback volume by Virago Press 
and are still available, at least used.  _The Semi-Detached House_ is 
much more Victorian.  It is also anti-Semetic.  I'm aware that my 
viewpoint is both modern and non-Jewish, but I found this aspect of it 
offensive.  The most sympathetic Jewish character is a young woman 
called Rachel, who is cheated of her inheritance by her own uncle and 
aunt.  She is intellectual and cynical, and I found her quite likeable, 
though to the original readership she might have seemed "unfeminine."

I'm not especially into either mysteries or 1930s clothing, but for 
those who like both, _Gosford Park_ is a spendid and lavish period film.

Fran

Kate M Bunting wrote:

>  
>
>>>>fran@lavoltapress.com 5/18/04 6:08:17 PM >>> wrote:
>>>>        
>>>>
>>I wish someone (perhaps BBC) would film Emily's Eden's _The 
>>Semi-Attached Couple_, written I think in the 1830s.  It's the closest
>>    
>>
>
>  
>
>>work to Jane Austen's I've ever read.
>>    
>>
>
>I'd never heard of her, but according to the Cambridge Guide to English
>Literature the novel was published 1860 but written 30 years earlier.
>She also wrote "The Semi-detached House" . I'll have to look out for
>them - they sound interesting.
>
>
>Kate Bunting
>Library, University of Derby
>_______________________________________________
>h-costume mailing list
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>
>
>  
>

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In a message dated 5/18/04 2:38:48 PM Central Daylight Time, 
formfunc@formfunction.org writes:
They're more able to point out what's
strange to them than someone who's gotten used to the strangeness, and their
reactions are more understandable to a 2004 audience. 

I think this is a really good point.  If they took a group of historical 
reenactors and stuck them in the period that the reenactor has been wanting or 
pretending to live in for years, then what they would get is the basic 
entertainment equivalent of sticking a duck in a pond.  What's interesting is when you 
take a duck and put it in the desert, and see what it does (metaphorically 
speaking, of course ... no ducks were harmed in the making of this post).

What you would get, I think, with a group of 17th or 18th century reenactors 
put in this show, is a lot of commentary like "I can't believe they gave us 
these bodices, they're so inaccurate for the period" and "okay, the cameras are 
just totally ruining the mood here ... can you guys please film from outside 
the house?"

-Tiffany
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Subject: [h-cost] Re: Re: Colonial House series
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E House wrote--

<snip>

I think that whole Colonial
> House meets Survivor thing
> would be great, although I wouldn't make it tyros vs
> reenactors. I'd give
> each side a nice even mix of experience levels, and
> maybe use it to battle
> out conflicting theories--whose interpretation works
> best? Even a simple
> competition of which theoretically equal group
> becomes wealthier in 1628
> terms--better harvest, more prepared for winter like
> on Fronteir house,
> etc--would be more interesting to me than just the
> question of whether they
> can survive, period. But with a mix of experience
> levels, you'd still have
> the sheer amusement value of the current series.

LOL!

I can see it now, especially if some of the teenagers
that have been recruited to play the parts of younger
family members are as dim-witted as the young women on
"Frontier House" were: some silly girl lets the cows
she's supposed to be tending loose in the corn field
because she's too busy flirting, or not paying
attention, or doesn't want to do her part. She incurs
the wrath of the entire team for losing the corn crop,
and America gets to watch said stupid girl spend the
rest of the series being publicly pilloried for
endangering the entire community.

Seriously, having worked with historical reenactors
for the past 30 years, they are very patient when they
know they have to be (such as when dealing with the
public), or if the less knowledgeable people they are
working with are making a sincere effort; however, I
don't know that I would want to be around the same
reenactors when they are having to put up with nitwits
who are recuited primarily for their entertainment
value as they mess things up for everybody. Things
could get ugly. Very ugly.

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: Re: [h-cost] Re: Colonial House series
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Guilty....  oh I would be so totally guilty.  lol.
   Bridgette

>What you would get, I think, with a group of 17th or 18th century reenactors
>put in this show, is a lot of commentary like "I can't believe they gave us
>these bodices, they're so inaccurate for the period" and "okay, the 
>cameras are
>just totally ruining the mood here ... can you guys please film from outside
>the house?"
>
>-Tiffany



Knitting content - just for the heck of it... I'm having a discussion with 
one of my fiber geek friends - and I was wondering can anyone on this list 
give me their impressions of working with reeled v. spun silk yarn.  Any 
opinions on what might be more appropriate pre-1600?  

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In a message dated 5/18/2004 3:40:46 PM Eastern Standard Time, 
fran@lavoltapress.com writes:
I have not seen Murder on the Orient Express, are the costumes good?
Is this the one made almost 30 years ago? If so, I remember the costumes as 
being very attractive, but I was not a critical observer then, so I have no 
idea how historically accurate they are.
Ann Wass
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Subject: Re: [h-cost] Re: Colonial House series
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On 5/18/04 12:39 PM, "E House" <formfunc@formfunction.org> wrote:

> I seem to be about the only one, but I actually think that PBS has taken the
> right tack by casting people who are overall, pretty ignorant about the
> daily life in whichever historical era they choose for one of these. The
> idea behind this series is to highlight the differences between 1628 and
> 2004, and that just plain works better when you have people who are
> completely unaccustomed to 1628. They're more able to point out what's
> strange to them than someone who's gotten used to the strangeness, and their
> reactions are more understandable to a 2004 audience. These series were just
> never meant to be a documentary of an accurate reenactment; they have a
> different goal entirely, and part of that goal is to entertain. The series
> still winds up being educational, but in a different way--you learn from
> watching people mess up, rather than watching them do it all just right.
> 
As much as I want to disagree with your point of view, I think you're right
-- to a point. I think, however, that they go too far sometimes. I didn't
see this one yet because I had a class last night, and will again tonight. I
admit that I haven't watched most of them because I always get mad at the
planners who don't give the participants enough information and I leave the
room in frustration. I did watch the British 1900 house where the people
didn't get a hot bath for what, a week or two? because they weren't taught
how to work the stove. And the producers gave them a middle-class house
without giving them the servant that any house that size would have had. No
wonder the mother was on the verge of murder! that's not good tv; that's
setting them up to fail and possibly putting them into an unsafe
environment.

> That said, I think it's possible to go in a different direction and still
> keep a lot of that. I think that whole Colonial House meets Survivor thing
> would be great, although I wouldn't make it tyros vs reenactors. I'd give
> each side a nice even mix of experience levels, and maybe use it to battle
> out conflicting theories--whose interpretation works best? Even a simple
> competition of which theoretically equal group becomes wealthier in 1628
> terms--better harvest, more prepared for winter like on Fronteir house,
> etc--would be more interesting to me than just the question of whether they
> can survive, period. But with a mix of experience levels, you'd still have
> the sheer amusement value of the current series.
> 
> -E

Yes, yes yes! It would be wonderful to see an older reenactor couple in the
house down the way who could be the older, wiser generation that the others
could go to for help when it became necessary. Families historically have
had an older generation to learn from; grandpa or even great-grandpa would
be able to show one how to work on the tractor or fix the broken mangle
washer or how to make certain that bread WILL rise, even if the yeast is
old. I think that would still be entertaining and educational television,
without putting the people or their relationships in jeopardy.

LynnD


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Lynne Connolly wrote:
> Interesting! However, you did refer to the drawing as being a study for 
> the "Whitechapel" fresco! I'm sure it was a slip of the keyboard!

Thanks for catching that--fixed now.

> My thesis was on the secularisation of iconography, and the Holbein 
> fresco formed a major part of the study, so I was particularly 
> interested in your study of the jewellery on the figure of Jane Seymour. 
> Holbein was a jewellery designer (some studies survive) so he might have 
> designed more than the painting!

Yes, Buck refers to Rowland on this--I didn't include the quote the 
first time but have added it now. She also mentions that Holbein, though 
appreciated by Erasmus, was not as highly regarded as Durer, being more 
interested in "simply" creating the art rather than in theorizing about 
the fundamental questions of art. Like others, she also comments on 
Holbein's ability to portry both seemingly total naturalistic realism 
and "a concealed and witty commentary on the sitters themselves...This 
quality made him the ideal portraitist of both the humanists and the court."

Your thesis sounds interesting. Elizabeth I certainly perfected the art. 
Did you draw any conclusions about, I suppose you could call it the 
traingulation, between humanism, nationalism, and secular iconography? 
(Oh I suppose this is wandering from the topic of clothing specifically, 
still, as has been pointed out in the thread on the TV program Colonial 
House, how and why we dress as we do is so completely grounded in our 
cultural expecatations and beliefs. Those women wearing corsets as outer 
garments certainly wouldn't have done so then or even 40 years ago!)

- Hope

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In a message dated 5/18/04 3:17:13 PM Central Daylight Time, 
LDownward@chori.org writes:
It would be wonderful to see an older reenactor couple in the
house down the way who could be the older, wiser generation that the others
could go to for help when it became necessary. 


I definitely agree with this, but I have to wonder - did it not occur to 
these people before the time came to depart for this ordeal, that it might be wise 
to bone up a bit on 17th century life?  This always baffles me with 
"Survivor" too - it's not like they don't know they've applied or been accepted.  Seems 
to me the bright thing to do, if you're going on Survivor, is to start 
weaning yourself off of caffiene/coffee/whatever your thing is, get in shape as much 
as you can, and learn some survival tactics.  By the same token, if I knew I 
was going to live in a 17th century village for a significant period of time, 
I believe I'd head to the local library and find out whatever I possibly could 
that would make my life easier.

Maybe they just didn't think it would be that tough - and if that's the case, 
then I say, let them eat unrisen yeast!!!  ::great big evil smile::

-Tiffany
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Robin Netherton wrote:

> Oh yes! I can't imagine why I haven't seen *any* of them in a screen
> version. I wonder if there's some issue with the estate? Many worse books
> have been brought to screen.

Yes, but apparently the one I know of was pretty bad. It was a 1951 
version of "The Reluctant Widow." I have yet to see it, but from what 
I've heard, the drama was bad, the costumes worse, and the mangling of 
Ms. Heyer's plot quite the worst of all (see imdb.com)!! (But if it ever 
makes it to DVD and NetFlix gets it you can be sure I'll check it out!)


- Hope (bitten by the Heyer bug at the age of 11)

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On 21:19 18/05/2004 Hope Greenberg said
>  Like others, she also comments on Holbein's ability to portry both 
> seemingly total naturalistic realism and "a concealed and witty 
> commentary on the sitters themselves...This quality made him the ideal 
> portraitist of both the humanists and the court."

Interesting that the drawings are wonderfully naturalistic, but the 
resulting paintings show a far more formal aspect. The paintings are for 
public consumption, and the drawings seem to have been working drawings for 
Holbein and his pupils. Compare the drawings of the Guildfords with the 
paintings. The paintings are more generalised, far more iconographic.


>Your thesis sounds interesting. Elizabeth I certainly perfected the art. 
>Did you draw any conclusions about, I suppose you could call it the 
>traingulation, between humanism, nationalism, and secular iconography?

I concentrated on the transition from religious iconography to secular, 
following the suppression of the monasteries and the painting over of many 
religious works. The people needed something to take the place of the Holy 
Trinity, and in the Whitehall fresco they got it. I wanted to discover 
where Holbein had got his idea, and I believe he was in cahoots with 
Cromwell, another clever propagandist. So when Holbein had finished with 
them we had Henry VIII, Jane Seymour and Prince Edward. It explains a great 
deal of the way they were presented to the public, in written and pictorial 
texts.
Interesting as well that this era saw the development of nationalism. 
Before this society, at least in its structure, was largely feudal, with a 
person owing loyalty to the person above him, not a country or a place. 
Tudor England saw the beginning of a great shift, where feudalism was 
finally abandoned, except in small enclaves like apprenticeships and 
guilds, in favour of early capitalism.
I still haven't settled on where humanism fits in all this. Thomas More is 
a confusing factor, combining a new outlook on adherence to old religious 
practices. Bigot or martyr?

>Those women wearing corsets as outer garments certainly wouldn't have done 
>so then or even 40 years ago!

Absolutely. My mother was appalled when she first saw me in a boned top 
which aped corsetry (remember Madonna?) and I used to buy old corsets from 
fleamarkets to clean and spruce up.


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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>  I
>don't know that I would want to be around the same
>reenactors when they are having to put up with nitwits
>who are recuited primarily for their entertainment
>value as they mess things up for everybody. Things
>could get ugly. Very ugly.
>
>Dawn
>
>=====
>Dawn Jacobson
>Vallejo, CA, USA
>
>Clothes are just the costumes we wear every day.
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And if they did as you suggest, I bet they would find themselves off the 
series and replaced by somebody who hadn't because management would have 
decided that such research lowered the entertainment value, which would 
lower the audience size, which is how they are judged when it comes to 
promotions, etc.

As always, my opinion, which obviously isn't very high when it comes to 
these pseudo-sorta-bastardized "historical education shows". Same thing 
with Survivor-type shows - If you aren't more outrageous than the other 
hopefuls, you don't get selected.

Katie


>I definitely agree with this, but I have to wonder - did it not occur to
>these people before the time came to depart for this ordeal, that it might 
>be wise
>to bone up a bit on 17th century life?  This always baffles me with
>"Survivor" too - it's not like they don't know they've applied or been 
>accepted.  Seems
>to me the bright thing to do, if you're going on Survivor, is to start
>weaning yourself off of caffiene/coffee/whatever your thing is, get in 
>shape as much
>as you can, and learn some survival tactics.  By the same token, if I knew I
>was going to live in a 17th century village for a significant period of time,
>I believe I'd head to the local library and find out whatever I possibly 
>could
>that would make my life easier.



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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10405181131480.1758-100000@shell.nightowl.net>
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Subject: [h-cost] Re: Sewing and multi-tasking
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I have been doing hand sewing while doing a number of things since
childhood.  I did the majority of my stitching when my kids were little.
They would play in whatever room I was in.  They were excited with every
little accomplishment with my project. Nice feeling!  TVs in our house are
on all the time.  We even situated the TV in my office to where I can look
over the computer monitor and watch TV. Now I do a lot of repetitive machine
sewing on quilts.  I watch TV while doing it. Also found that I can bring
hand sewing into the kitchen.  During the wait times with cooking, I will
sew and watch TV.  I have always been one of those people who does 10 things
at one time.

I also carry sewing projects with me when I know that I will be waiting,
like doctor's offices.  At least I am not as bad as *some* people I know,
who travel with their sewing machine... not mentioning any names.  LOL!!!
I have even been crocheting behind the computer and watching TV.  I was
following an online pattern.  Idle hands are the devil's workshop!

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


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In a message dated 5/18/2004 3:40:46 PM Eastern Standard Time, 
fran@lavoltapress.com writes:

> Amazon.com sells it on both tape and DVD.

Really???

I admit I haven't looked for it in a while. It never used to be listed 
anywhere.

Yes, the costumes....and art direction are great! It's a superb film.
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Subject: [h-cost] Re: Colonial House series
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>From: "E House" <formfunc@formfunction.org>
>I seem to be about the only one, but I actually think that PBS has taken 
>the
>right tack by casting people who are overall, pretty ignorant about the
>daily life in whichever historical era they choose for one of these...

Ih, you aren't alone :)   There have been a few of us who have been pointing 
this out since the first series.  But I do think you are right -- In order 
to educate moderns in what was done then, it is sometimes necessary to put 
them into that situation, as a fish out of water.

I missed frontier house, and from the sounds of everything I'm not too upset 
by it, but I've really had a good time with all the rest of them.

Marc

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From: "Ron Carnegie" <r.carnegie@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Colonial House series
Date: Tue, 18 May 2004 17:39:34 -0400
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   Actually the Canadian "quest" series does use a knowledgeable cast I
believe are by far the more interesting shows.  Would the rest of America
agree I don't know.  I know the makers of the American ones would not agree.
A friend of mine was the domestic advisor for Frontier House.  She told me
that the whiny, complaining kids of that series were actually very nice
kids.  She reminded me that they were on the Frontier for a number of months
and that the show was only about six hours long.  With that in mind these
shows teach far more about what the Producers, Directors, and Editors find
important than what really happened.

Cheers,
Ron

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Tiffsewsstuff@aol.com
> Sent: Tuesday, May 18, 2004 3:05 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Re: Colonial House series
>
>
> In a message dated 5/18/04 2:38:48 PM Central Daylight Time,
> formfunc@formfunction.org writes:
> They're more able to point out what's
> strange to them than someone who's gotten used to the
> strangeness, and their
> reactions are more understandable to a 2004 audience.
>
> I think this is a really good point.  If they took a group of historical
> reenactors and stuck them in the period that the reenactor has
> been wanting or
> pretending to live in for years, then what they would get is the basic
> entertainment equivalent of sticking a duck in a pond.  What's
> interesting is when you
> take a duck and put it in the desert, and see what it does
> (metaphorically
> speaking, of course ... no ducks were harmed in the making of this post).
>
> What you would get, I think, with a group of 17th or 18th century
> reenactors
> put in this show, is a lot of commentary like "I can't believe
> they gave us
> these bodices, they're so inaccurate for the period" and "okay,
> the cameras are
> just totally ruining the mood here ... can you guys please film
> from outside
> the house?"
>
> -Tiffany
> Reflections*of*Worth
> http://stores.ebay.com/Reflections-of-Worth
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Chemise construction
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Hmm, I guess I need to look at these Tiziano paintings. Most Italian
Renaissance chemises or camicia (sp?) I have seen seems to be gathered or
smocked (fixed), not draw-stringed.

De

-----Original Message-----
if you tell us which period, we can probably point you
in the right direction. Several of Tiziano's paintings
show women in drawstring neck chemises, but that is
the 16th century in Italy.

Catalina



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From: "Ron Carnegie" <r.carnegie@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Colonial House series
Date: Tue, 18 May 2004 17:46:35 -0400
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	Some of the costumers at my museum were involved in this project as well.
My understanding is that this was in research not manufacturing.  The
clothing was made by the Tudor Group in England, or at least this had been
the plan last I heard last year.  My friends were trying to increase the
number of garment so issued each participant (using the recommendations for
the original Jamestown settlers as a guide).  Tudor Group balked at making
this number so there was a possibility last year that I would make some
clothing for the show!  I was excited about it, but it all fell through.
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Dawn Jacobson
> Sent: Tuesday, May 18, 2004 1:21 PM
> To: h-costume@indra.com
> Subject: [h-cost] Re: Colonial House series
>
>
> I'm prefacing this with a caveat: I haven't seen the
> series yet as I had class last night, so my DH taped
> it for me. However, the series was the topic of a
> quick discussion on another list with a person that
> works at Plimoth Plantation (it came up as part of a
> discussion on clome ovens, way off-topic for this
> list).
>
> Anyway, she mentioned that Plimoth Plantation, while
> heavily involved in creating the series, did NOT
> supply the wardrobe for the "colonists"; they supplied
> the wardrobe for a later development (I'm trying not
> to give too much of the plot away), along with
> furniture for the houses, some food stuffs (salt pork
> and the such), and several weeks of training so people
> wouldn't set themselves on fire trying to cook or cut
> their limbs off using an unfamiliar tool.
>
>
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] Re: Colonial House series
Date: Tue, 18 May 2004 16:49:17 -0500
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I'm not a reenactor by any road, but yes, it would be fun(although I'd
probably make some basic items--shifts, pair of bodies and a skirt,etc in
natural fabrics if I knew I was going to be on this kind of project)to bitch
on the inaccuracy of the supposed accuracy of the project materials
provided.

And those poor participants were allowed to get sick--they didn't have
anyone trained in the medicine of the day, especially herbal medicine. On
Frontier House, there was at least a vet and doctor available. I think the
idea of having some trained older reenactors as participants to go to would
be very helpful, act as a contrast in knowledge of the times, and eliminate
the sometimes annoying voice-over!



I just loved what they did for punishing in this PC era as an equivalent of
17th c punishments on the show, at worst--it was like putting little kids in
timeout. Plus the offenders got a one to two hour break from work as the
worst punishment being ankle-hobbled to a stake. I would have at least
wanted to take some sewing or mending to do if weather allowed.

If they had at least a set of stocks(the sitting version) or a little
platform where one had to sit or stand out in plain sight might have been
more of a deterrent. And most persons looked forward to the Sabbath as a
break from all but essential work. The time between the two usual services
was not only taken up by the midday meal, but allowed socializing and
community interaction. The modern participants seemingly didn't see it that
way, some seeing it as imposing on their "me" time. And Sabbath-breaking was
also done by those desparate to get needed work done, especially if it
involved crops, their animals, or home repair.

Cindy Abel

And I think the audience would still enjoy and learn from it.



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of M Stewart
Sent: Tuesday, May 18, 2004 3:12 PM
To: Historical Costume
Subject: Re: [h-cost] Re: Colonial House series



Guilty....  oh I would be so totally guilty.  lol.
   Bridgette

>What you would get, I think, with a group of 17th or 18th century
reenactors
>put in this show, is a lot of commentary like "I can't believe they gave us
>these bodices, they're so inaccurate for the period" and "okay, the
>cameras are
>just totally ruining the mood here ... can you guys please film from
outside
>the house?"
>
>-Tiffany



Knitting content - just for the heck of it... I'm having a discussion with
one of my fiber geek friends - and I was wondering can anyone on this list
give me their impressions of working with reeled v. spun silk yarn.  Any
opinions on what might be more appropriate pre-1600?

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Subject: RE: [h-cost] Colonial House series
Date: Tue, 18 May 2004 17:49:33 -0400
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   This is exactly the case.  They even mentioned it on the application for
Frontier House, though I noticed it was missing from Colonial House.

Cheers,
Ron

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Katie Pleasance
> Sent: Tuesday, May 18, 2004 1:17 PM
> To: Historical Costume
> Subject: RE: [h-cost] Colonial House series
>
>
> My own opinion of the plethora of 'House' series is that it
> panders to the
> penchant of people who enjoy gawking at people getting frustrated while
> trying to live an alien lifestyle. I'll betcha that an historian who was
> expert in the period would be passed over in favor of somebody that would
> titillate the audience with her behavior while trying to cope in this
> foreign environment. The motivation for authenticity is that the more
> authentic the environment is, the more difficult it will be for modern
> people to cope.
>
> As always, my opinion
>
> Katie
>
>
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Lloyd Mitchell wrote:

>Put with the modern slang that the characters use
>on a regular basis, there is a falsity that they certainly didn't get from
>Plimouth!  I had a lot of problems with the 'script' as usual, and this
>certainly spoiled the visual 'study' of 17th C life for me.
>Kathleen
>  
>

you might turn off the sound....

liz young, coming out of finals lurk-dom


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Subject: Re: [h-cost] Re: Sewing and multi-tasking
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on 5/18/04 5:25 PM, Penny Ladnier at penny@costumegallery.com wrote:

 I watch TV while doing it. Also found that I can bring
> hand sewing into the kitchen.  During the wait times with cooking, I will
> sew and watch TV.  I have always been one of those people who does 10 things
> at one time.
> 
You bring back a lovely memory. My great-great grandmother did gorgeous
pieces of crochet--tablecloths, pictures, doilies, lace inserts and collars
for blouses; my grandmother says every piece had to be washed and bleached
when finished because my g-g would crochet while doing chores and especially
while cooking, and by the time she finished a piece it would be filthy and
greasy.... Multitasking is not new!

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

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Subject: [h-cost] Re: Knitting & Reeled silk vs spun bits
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At 3:29 PM -0600 5/18/04, h-costume-request@indra.com wrote:
>nitting content - just for the heck of it... I'm having a discussion with
>one of my fiber geek friends - and I was wondering can anyone on this list
>give me their impressions of working with reeled v. spun silk yarn.  Any
>opinions on what might be more appropriate pre-1600?

I *think* that reeled would be much more appropriate (carefully not 
sayin never...) It would not pill and would be ever so 
loverly...AFAIK the spun/lumpy-compared-to-reeled silk was much less 
desirable.

That being said anyone have a handy guide to de-gumming and reeling said silk?

Ta
Carol, Silk is 'period' for late 18th cent  SE PA-- Sarah Wright 
raised enough of the little buggers to make a dress--woven in 
Spittalfields, reeled I *think* at home <VVBEG> There are rewards for 
moving up the time stream! WaHooo!
-- 
Creative Clutter is Better Than Idle Neatness!
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Yes . . . maybe I'll get it.  I recently decided to start a video 
collection--which I never had before.  Over the past month I've been 
buying every drama/costume video that seems good to me.  Most are films 
of books I've loved.  Most are color and made since the mid-70s.

Anyway, I could now write a whole essay on how to find and buy videos.  
Suffice it to say, buy from someone like A1 books.com or Amazon proper.  
Or an Amazon Marketplace or Half.com seller who is professional, someone 
with hundreds or thousands of [good] feedbacks.  Don't buy from 
low-volume or small-time sellers.  Some are just great, people who did 
buy a video, watch it once, and want to sell it cheap.  But some are 
selling worn-out rentals, some are selling low-quality (and probably 
illegal) copies they either made or bought on some black market, and 
some are selling videos they may only have viewed once but which were 
stored under poor conditions for 30 years.  (And with one video I bought 
I'm not exaggerating about the 30 years.)  Some people happily list all 
of these as "new."  Look for listings that say it is new AND in the 
manufacturer's box ("clamshell packaging" is usually an ex-rental) AND 
with the manufacturer's shrink wrap (shrink wrapping used videos is 
unfortunately common; you probably can't tell the difference but it is 
at least an assurance of quality) AND has super feedback about dealing 
with defective items.  It's worth paying a few dollars more per video 
for these guarantees.  And if you need to return one, insure the package.

If the price for an older video is outrageous, try another source.  What 
some people do (with music CDs and books as well as videos) is list a 
very high price, calling the item a collectible, without having the item 
in stock but knowing where they can buy it much cheaper.  Then if anyone 
orders at the high price, they go buy it to fill the order.

Actually most of the sellers I've dealt with are fine.  It's just that 
like everything the few bad ones can cause a lot of hassle.  At least 
I'm now about done buying the videos I knew I wanted.

Please, someone let me know when the video of "He Knew He Was Right" 
comes out.

Fran

AlbertCat@aol.com wrote:

>Really???
>
>I admit I haven't looked for it in a while. It never used to be listed 
>anywhere.
>
>Yes, the costumes....and art direction are great! It's a superb film.
>_______________________________________________
>
>  
>

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I haven't seen the show -- it started here last night but I didn't know
about it until this morning.

But . . . I read a very interesting article in "People" magazine at the
barber shop while my son was getting his haircut yesterday. It was called
something like "Reality TV: How Real is it?" The gist was that a lot of the
stuff on reality shows is either staged or edited. They used a lot of
examples, but since I don't watch the shows I can't comment on whether the
charges sounded plausible or not. One I remember was that on "The Bachelor"
(I think it was that one) there was a keg of beer and a bottle of wine
available at all times, and that the contestants were encouraged to drink a
lot. No one wanted them drunk -- just less inhibited. Another was that the
woman on "The Bachelorette" said she smiled at all the contestants when she
met them, but that the editors spliced in shots of her grimacing (at
different times in the evening) after she met each one.

I think the same is true for these PBS shows. The reactions are real, but
the situations aren't always as they appear to be.

Obligatory costume content: I love the woman's jacket on this picture:

> http://www.pbs.org/wnet/colonialhouse/media/photos4.html

(far right center picture)

What do you call that? Does anyone have a pattern for it? It's not my
period, but it's so pretty!

Gail Finke

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Subject: Re: [h-cost] Murder on the Orient Express
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When buying DVDs [which "Orient Express" apparently is NOT on yet] I always 
go to

 DVD Price Search 

first.


I haven't seen "Orient Express" in a long while [the late 80s maybe] but I 
seem to remember a scene with Michael York and whoever plays his beautiful wife, 
dressed to the nines all in white strolling thru the grey smoky Istanbul 
station.....Turkish vendors everywhere. A cart of oranges is upset and the bright 
orange fruit spills in front of them. They stroll thru the oranges as if 
nothing has happened. Beautiful!
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Subject: Re: [h-cost] Re: Colonial House series
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For those that have seen Frontier House but not yet seen Colonial House--I'm
seeing a pretty major difference so far. If nothing else, most of the
participants are far less annoying. (Although there's one who would have fit
in just perfectly in FH...)  And it's noteworthy that one of the
participants has done serious research into a specific facet (religion) of
that era: the 'lay preacher.'

One thing, though, struck me in Frontier House and has struck me again in
this: yeah, the participants haven't got the training they should have--but
a lot of people on the frontier and a lot of early colonists didn't, either.

-E
(Marc: Actually, I think we might have agreed on this last time around, with
Frontier House. I remember there was SOMEONE else who felt that way, then.)

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Subject: Re: [h-cost] Murder on the Orient Express
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In a message dated 5/18/2004 7:20:53 PM Eastern Standard Time, 
AlbertCat@aol.com writes:

> DVD Price Search 
> 

That's a dot com


DVDPriceSearch.com 

will get you there. They have a listing of e-coupons for various sites on 
their homepage as well as other specials. Check 'em out.
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A great older film I recently discovered is the 1974 "Daisy Miller."  
The costumes are not perfect but good for the period when it was made, 
the settings are great, and the acting is just superb.  And it's true to 
the book.

Fran

>I haven't seen "Orient Express" in a long while [the late 80s maybe] but I 
>seem to remember a scene with Michael York and whoever plays his beautiful wife, 
>dressed to the nines all in white strolling thru the grey smoky Istanbul 
>station.....Turkish vendors everywhere. A cart of oranges is upset and the bright 
>orange fruit spills in front of them. They stroll thru the oranges as if 
>nothing has happened. Beautiful!
>
>  
>

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Gail & Scott Finke wrote:


>>http://www.pbs.org/wnet/colonialhouse/media/photos4.html
> 
> 
> (far right center picture)
> 
> What do you call that? Does anyone have a pattern for it? It's not my
> period, but it's so pretty!
> 

The blue wool jacket? It's the transitional style between the more 
familiar woman's elizabethan doublet and the later 'colonial' styles. I 
made a fair copy of one this past winter from the Folkwear Bolivian 
Milkmaid Jacket pattern. Made the front neck a little higher and 
straightened out the sleeves. I did mine in red wool with linen lining 
and it was wonderful for a winter event I went to.

If you look carefully you can see it in the early Flemish genre 
paintings -- same decades as the American colonizations began.

You can see pictures of similar garments on the "TudorGroup" website, 
too, but I haven't been able to get anyone from there to answer my 
questions about its construction (thus the Folkwear modification).


Dawn



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Subject: RE: [h-cost] Re: Colonial House series
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That is true, but much of the skill described in these shows would be just
as common back in civilization as well.

Cheers,
Ron

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of E House
> Sent: Tuesday, May 18, 2004 6:25 PM
> To: Historical Costume
> Subject: Re: [h-cost] Re: Colonial House series
>
>
> For those that have seen Frontier House but not yet seen Colonial
> House--I'm
> seeing a pretty major difference so far. If nothing else, most of the
> participants are far less annoying. (Although there's one who
> would have fit
> in just perfectly in FH...)  And it's noteworthy that one of the
> participants has done serious research into a specific facet (religion) of
> that era: the 'lay preacher.'
>
> One thing, though, struck me in Frontier House and has struck me again in
> this: yeah, the participants haven't got the training they should
> have--but
> a lot of people on the frontier and a lot of early colonists
> didn't, either.
>
> -E
> (Marc: Actually, I think we might have agreed on this last time
> around, with
> Frontier House. I remember there was SOMEONE else who felt that
> way, then.)
>
> _______________________________________________
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Subject: [h-cost] Re: Colonial House series & reeled v. spun silk
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Gail Fink noted that much of what is "reality" TV is
staged or edited to make it more interesting to the
viewer. This is also the case with the series that
have been produced by Beth Hoppe (producer of both
Frontier House and Colonial House). In an interview
after Frontier House finished, the young woman who was
married during the series said that one of the
frustrating things was that the camera crews and
directors were constantly pushing to get "dramatic"
footage: "We have enough of you being OK; we need more
whining." This was also mentioned by several members
of the "obnoxious" family that set up the still, who
turned out to be not nearly as horrible as they are
depicted in the series.

This seems to be a standard MO for this type of show:
the producer of the "Survivor" series in a recent
interview said that one of his goals was to create an
arcing story-line out of what was happening; this was
borne out by the ending of the most recent "Survivor"
series: two people not generally liked by the American
public won, so another $1 million prize was put up,
with the American people allowed to pick their
preferred winner.

OCC: The basic process for reeling silk is to drop the
coccoons into a pot of gently boiling water, then once
they start to come apart, find the end and begin to
unreel the little buggers. You have to unreel
multiples of them at a time, as an individual strand
is far too fine to do anything with. Reeled silk is
much smoother and stronger than spun silk (spun silk
is created from coccoons that have already lost their
silk worms/moths).

If you're interested in doing it for historical
purposes, it would be wise to do the entire
sericultural cycle, raising the worms, feeding them,
and then harvesting the silk. This is how the majority
of silk was (and is) created; you wouldn't have
purchased the coccoons and reeled it yourself.

A Google of "sericulture" will produce a number of
sites, most in India, where manual silk reeling is
still practiced as a cottage industry.

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: [h-cost] Finishing slashed material
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Besides couching by hand, or using the sewing machine to finish, what are
some different ways to finish slashed material (the holes the chemise gets
pulled through) for a Tudor doublet?  What's the best way?  I have heard of
stitch witchery, but I wondered about other methods for different fabrics.
For the current project, I am working with velvet, but sometimes work with
brocades or silk.

 

Becky

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Subject: Re: [h-cost] Finishing slashed material
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You could bind with ribbon.

Glenda.
----- Original Message ----- 
From: <rreed@indirectobject.com>
To: <h-costume@net.indra.com>
Sent: Wednesday, May 19, 2004 2:09 PM
Subject: [h-cost] Finishing slashed material


> Besides couching by hand, or using the sewing machine to finish, what are
> some different ways to finish slashed material (the holes the chemise gets
> pulled through) for a Tudor doublet?  What's the best way?  I have heard
of
> stitch witchery, but I wondered about other methods for different fabrics.
> For the current project, I am working with velvet, but sometimes work with
> brocades or silk.
>
>
>
> Becky
>
> _______________________________________________
> 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] Colonial House series
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Oddly enough (or perhaps, not so oddly), that was my thought also (about 
the coifs), upon seeing the 3rd & 4th hours tonight (my PBS station is 
breaking them up into 2-hour slots; there'll be more next week).
It was an interesting show tonight on a number of levels, but it 
certainly had me thinking, at the very least, about *why* it is I'm even 
interested in reenacting.  Mundanely, I'm much more along the lines of 
the Voorhees family, and I can see modern-me rebelling (and I have, 
absolutely) against exactly those kinds of expectations (well, as they 
exist in a what is a fairly conservative, rural state in 21st c. US). 
But the part of me that would really dig an experience like that would 
have really wanted to try as much of it as possible, and if that meant 
modifying my speech and behavior in ways that didn't cross my personal 
moral lines (I won't even play-act bigotry, for instance), I think it'd 
be part of the whole experience.  Sort of trying to fit myself as 
completely as possible into the person I might have been, if I'd lived then.
Did it strike anyone else this way?
--sue


Cindy Abel wrote:
> The first four hours of this series(continues through Wednesday)was on my
> local PBS station last night.
> 
> The first two things I noticed(costume-wise)was that the women's coifs(when
> they chose to wear them)were either inadequate to cover their hair or were
> worn that way and that the gromments on garments like the pair of
> bodies(stays)were definately modern. Most of the cast appeared as though
> they tried to wear to provided costumes like modern clothing--understandable
> when working, but not on the Sabbath. Of course the women rebelled when
> modesty "laws" were enforced, but frankly they didn't seem to get the
> idea(the "cast" had two weeks of intensive training at Plimouth Plantation
> before they traveled to the Colonial House site)that covering the hair could
> be very practical--cover bad hair days, keep hair out of the way, and that
> there was no time to fuss with hair.

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Subject: Re: [h-cost] Re: Colonial House series
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>Barring an Indian
> attack or an outbreak of smallpox, about the only
> "drama" the producer can work with is how miserable a
> bunch of ill-prepared 21st century people are as they
> try to deal with living in the early 17th century. Or
> do I sound too cynical?

I think you hit it right on the head. Preparing them as most of us would
have prepared ourselves would make the series educational and it would have
a fraction of the viewership it has.
I expected the ladies to "loose" part of their clothing quickly, just not as
quickly as they did.  I really don't understand the producers and some of
their decisions. There was a comment made about the "Indians",  said out of
clear ignorance, which should have been left on the cutting room floor. The
New Englanders of 1628 would have been hunting. The cast members should have
at least been given extra chickens so they could have an appropriate
quantity of protein, the inaccuracy could have been explained away the same
way the phones and bug repellent are - safety. To avoid slighting those they
are supposed to be trying to understand the lay preacher should have at the
very least have been given some guidelines on what the Puritans accepted and
rejected. An alter and pine boughs had me throwing a fit and probably had my
ancestors rolling in their graves. Some "low" churches with
Congregationalist root still don't use alters.

Beth Chamberlain

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Sue Clemenger wrote:


> But the part of me that would really dig an experience like that would 
> have really wanted to try as much of it as possible, and if that meant 
> modifying my speech and behavior in ways that didn't cross my personal 
> moral lines (I won't even play-act bigotry, for instance), I think it'd 
> be part of the whole experience.  Sort of trying to fit myself as 
> completely as possible into the person I might have been, if I'd lived 
> then.
> Did it strike anyone else this way?

I think a lot of us on this list would have wanted to try and fit in and 
experience the whole lifestyle. However, after tonight's episodes it 
became obvious (I didn't see the first 2 parts) that participants were 
purposely chosen because they wouldn't fit in or because they would be 
likely to cause trouble, challenge authority and otherwise 'rock the 
boat' for dramatic purposes.

Still, I enjoyed studying the costumes and household accessories they 
had, and I will watch the show to see more. The sprinkling of historical 
bits was interesting as well, I wish there was more, but then, this is TV.


Dawn




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Subject: [h-cost] Tiziano   was: Chemise construction
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I found this site

http://www.kfki.hu/~arthp/html/t/tiziano/1portrai/index.html

Flora is questionable but I am more likely to lean towards set gathers and
not draw-string.

I also had a duh moment when I forgot that Tiziano Vecellio = Titian.

Is there a specific painting that you believe has a draw-string chemise?

Arian

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Subject: Re: [h-cost] Finishing slashed material
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Previously I've made some piping cord and then stitched that between the two 
layers of slashed fabric. Not sure how period this technique is.

Karinne

Quoting Glenda Robinson <glendar@compassnet.com.au>:

> You could bind with ribbon.
> 
> Glenda.
> ----- Original Message ----- 
> From: <rreed@indirectobject.com>
> To: <h-costume@net.indra.com>
> Sent: Wednesday, May 19, 2004 2:09 PM
> Subject: [h-cost] Finishing slashed material
> 
> 
> > Besides couching by hand, or using the sewing machine to finish, what are
> > some different ways to finish slashed material (the holes the chemise gets
> > pulled through) for a Tudor doublet?  What's the best way?  I have heard
> of
> > stitch witchery, but I wondered about other methods for different fabrics.
> > For the current project, I am working with velvet, but sometimes work with
> > brocades or silk.
> >
> >
> >
> > Becky
> >
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I agree with that, as well.  And if I were the producers, developers, 
I'd definitely be going with that sort of angle.  I think that this sort 
of approach is the one most likely to hook the interest of folks without 
experience in reenacting, if only because it would be easier to imagine 
yourself in that situation if the "characters" are more like you.
And why am I suddenly envisioning a show that takes reenactors from a 
given area of expertise, and plops them down in something else entirely? 
Vikings in 18th c. "high society" France or England, or "US Colonial" in 
Renaissance Italy, or perhaps two teams, switching respective areas! ;o)
--sue

Tiffsewsstuff@aol.com wrote:

> In a message dated 5/18/04 2:38:48 PM Central Daylight Time, 
> formfunc@formfunction.org writes:
> They're more able to point out what's
> strange to them than someone who's gotten used to the strangeness, and their
> reactions are more understandable to a 2004 audience. 
> 
> I think this is a really good point.  If they took a group of historical 
> reenactors and stuck them in the period that the reenactor has been wanting or 
> pretending to live in for years, then what they would get is the basic 
> entertainment equivalent of sticking a duck in a pond.  What's interesting is when you 
> take a duck and put it in the desert, and see what it does (metaphorically 
> speaking, of course ... no ducks were harmed in the making of this post).


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I've seen some of the Canadian ones (the folks who spent a year? 
homesteading), and I really like them, not that I'm exactly a 
representative American or anything!
And it wasn't the whiny *kids* on Frontier House that drove me nuts, it 
was the whiny *adults.*  And the one girl (the newlywed?) who didn't 
even know how to cook (geeze, I woulda at least been cheating by going 
down to the local library or used bookstore, and looking for Foxfire 
books or something!)  And the straggly hair  (good grief, the first 
thing I do when I'm cleaning house or when I used to do field or barn 
work on my folks' farm was to braid my hair back, and put on a hat or 
scarf of some sort!)
You're right, though, to remind us that there's a lot of editing going 
on with these things--I wonder what it's like to be a participant in one 
of these shows, and then see how it's portrayed to everyone else!
--sue

Ron Carnegie wrote:

>    Actually the Canadian "quest" series does use a knowledgeable cast I
> believe are by far the more interesting shows.  Would the rest of America
> agree I don't know.  I know the makers of the American ones would not agree.
> A friend of mine was the domestic advisor for Frontier House.  She told me
> that the whiny, complaining kids of that series were actually very nice
> kids.  She reminded me that they were on the Frontier for a number of months
> and that the show was only about six hours long.  With that in mind these
> shows teach far more about what the Producers, Directors, and Editors find
> important than what really happened.
> 
> Cheers,
> Ron


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LOL, well, we have to remember that if it was done correctly the first
time, these people would just look like actors to the viewer, not like
people trying something they aren't used to.   
	I'm no historian, nor even a reenactor, just a camper, and semi-self
suficient person, but I bet even I would have been rejected, they seem
to like the city people who've never seen anything that wasn't already
semi prepared from the supermarket.  Kitty

Gia wrote:
> 
> Nah, I think you hit the nail in the head...
> 
> Emer \ Gia
> > I'm curious to see this series, as my DH and I applied
> > to participate, and were turned down, as were probably
> > any other active historical reenactors--we simply make
> > it look too easy <grin>, and where's the drama in that
> > for the average American viewer? Barring an Indian
> > attack or an outbreak of smallpox, about the only
> > "drama" the producer can work with is how miserable a
> > bunch of ill-prepared 21st century people are as they
> > try to deal with living in the early 17th century. Or
> > do I sound too cynical?
> >
> > Dawn
> >
> > =====
> > Dawn Jacobson
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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The bluey-purple one? It looks very much like a simple, wool version of 
the heavily embroidered jackets I've seen from roughly the same time 
period.  A number of them have survived--there's on in the V&A, for 
instance.  Same bit of a flair in the peplum, same little "wings" at the 
shoulder.  I've always seriously jonesed for one, but they're pretty 
much all Jacobean (in other words, too late for the SCA, but spot-on for 
this show).
There are diagrams for at least one of these in Arnold's _Patterns of 
Fashion_, vol. 2.  Dunno about actual patterns.
--sue

Gail & Scott Finke wrote:

> Obligatory costume content: I love the woman's jacket on this picture:
> 
> 
>>http://www.pbs.org/wnet/colonialhouse/media/photos4.html
> 
> 
> (far right center picture)
> 
> What do you call that? Does anyone have a pattern for it? It's not my
> period, but it's so pretty!
> 
> Gail Finke
> 
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that would be a cool idea, you should send it in the PBS, maybe they
would go for it.   Kitty

M Stewart wrote:
> 
> I still want to see a series like this with two teams.  One comprised of
> the average Joe's and the other team all "avid recreational
> historians"  aka ringers.  It would be interesting to see how the two
> groups approached problems.
> Bridgette
> 
> >>we simply make
> >>it look too easy <grin>, and where's the drama in that
> >>for the average American viewer? Barring an Indian
> >>attack or an outbreak of smallpox, about the only
> >>"drama" the producer can work with is how miserable a
> >>bunch of ill-prepared 21st century people are as they
> >>try to deal with living in the early 17th century. Or
> >>do I sound too cynical?
> >>Dawn
> 
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Ok, I have to say it - after watching this evening's episodes...

The shoes should not be that hard to take care of - there's no excuse for 
then to fall apart like that in the four months they have them -- and if 
they are slippery, the person isn't walking in them correctly.  There, I've 
bitched :)

Marc

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Finishing slashed material
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>Besides couching by hand, or using the sewing machine to finish, what are
>some different ways to finish slashed material (the holes the chemise gets
>pulled through) for a Tudor doublet?  What's the best way?

Cut them on the bias and don't finish them at all.  The will frizz a
little, but I had the chance to look at a Bronzino painting in the
Metropolitan Museum, with slashed fabric, and under the guy's arm, where
you could get a side vies of the slashed, they had frizzed!  Don't finish
the edges - Bronzino says so.  Janet Arnold agrees, according to some of
the illustrations in the Patterns of Fashion Ren. volume. 

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

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Subject: RE: [h-cost] Re:Costume movies (for stitching to of course)
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I'll cast my vote from some other period dramas like Shakespeare in Love,
Elizabeth, Dangerous Beauty.  I've been know to throw just about anything
into the player I have seen at least once to work too.  I've tried with ones
I haven't seen and it just doesn't work well.

Molly

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lavolta Press
Sent: Tuesday, May 18, 2004 12:55 PM
To: Historical Costume
Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)


These two books were reprinted in one paperback volume by Virago Press
and are still available, at least used.  _The Semi-Detached House_ is
much more Victorian.  It is also anti-Semetic.  I'm aware that my
viewpoint is both modern and non-Jewish, but I found this aspect of it
offensive.  The most sympathetic Jewish character is a young woman
called Rachel, who is cheated of her inheritance by her own uncle and
aunt.  She is intellectual and cynical, and I found her quite likeable,
though to the original readership she might have seemed "unfeminine."

I'm not especially into either mysteries or 1930s clothing, but for
those who like both, _Gosford Park_ is a spendid and lavish period film.

Fran

Kate M Bunting wrote:

>
>
>>>>fran@lavoltapress.com 5/18/04 6:08:17 PM >>> wrote:
>>>>
>>>>
>>I wish someone (perhaps BBC) would film Emily's Eden's _The
>>Semi-Attached Couple_, written I think in the 1830s.  It's the closest
>>
>>
>
>
>
>>work to Jane Austen's I've ever read.
>>
>>
>
>I'd never heard of her, but according to the Cambridge Guide to English
>Literature the novel was published 1860 but written 30 years earlier.
>She also wrote "The Semi-detached House" . I'll have to look out for
>them - they sound interesting.
>
>
>Kate Bunting
>Library, University of Derby
>_______________________________________________
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>
>

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Kate Bunting
Library, University of Derby

>>> LDownward@chori.org 18/05/2004 21:15:09 >>> wrote:
> I did watch the British 1900 house where the people didn't get a hot
>bath for what, a week or two? because they weren't taught how to >work
the stove.

To be fair, I seem to remember that that was partly because such a high
safety factor had been built into the boiler (for fear of an explosion)
that it wasn't effective enough, and adjustments had to be made to it
after a few days.

What annoyed me was the kitchenmaid in the "Edwardian Country House"
who left on the first day, horrified at how hard she would have to work.
It seemed a waste of everyone's time that the programme makers hadn't
briefed her better on what to expect - but, as people have been saying,
perhaps it was staged in order to make a dramatic scene.


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
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Subject: Re: [h-cost] Re: Colonial House series
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The point about the men is well taken.  Early in the second segment, the
'leader' (Gov) presents the first rules, one of which dealt with nakedness
of men and women.  This included the absence of coif, bare arms, and bare
chests of men in the presence of women. I too was bothered by the
slovernless of the men in general. No pride of person.
And, in all the 10 weeks time, no sign or sight of how they handled simple
laundry.
Kathleen
----- Original Message ----- 
From: "Dawn Jacobson" <dme_maud@pacbell.net>
To: <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 2:20 PM
Subject: [h-cost] Re: Colonial House series


> I'm prefacing this with a caveat: I haven't seen the
> series yet as I had class last night, so my DH taped
> it for me. However, the series was the topic of a
> quick discussion on another list with a person that
> works at Plimoth Plantation (it came up as part of a
> discussion on clome ovens, way off-topic for this
> list).
>
> Anyway, she mentioned that Plimoth Plantation, while
> heavily involved in creating the series, did NOT
> supply the wardrobe for the "colonists"; they supplied
> the wardrobe for a later development (I'm trying not
> to give too much of the plot away), along with
> furniture for the houses, some food stuffs (salt pork
> and the such), and several weeks of training so people
> wouldn't set themselves on fire trying to cook or cut
> their limbs off using an unfamiliar tool.
>
> >From the clips I've seen as part of the advertising
> run-up to the series premiere last night, it appeared
> to me that the women "colonists" were working in their
> corsets, but not their bodices; for those that haven't
> seen the series yet, if you've ever been at a LH
> demonstration before/after hours, while people are
> getting ready, most of the women I saw looked about
> the same as 15th/16th C. women reenactors when they
> gotten as far as putting on their shifts, corsets,
> petticoats and skirts, but haven't put their bodices
> or sleeves on yet. A check of the PBS Web site page to
> "meet the colonists" reveals that yes, these women
> were running around in what most of us would consider
> their underwear. The same appears to hold true for the
> men--if the photos on the Web site are any indication,
> only the 2 men from the UK seem to realize that a
> "civilized" man was not seen in his shirt sleeves.
>
> I'm curious to see this series, as my DH and I applied
> to participate, and were turned down, as were probably
> any other active historical reenactors--we simply make
> it look too easy <grin>, and where's the drama in that
> for the average American viewer? Barring an Indian
> attack or an outbreak of smallpox, about the only
> "drama" the producer can work with is how miserable a
> bunch of ill-prepared 21st century people are as they
> try to deal with living in the early 17th century. Or
> do I sound too cynical?
>
> Dawn
>
> =====
> Dawn Jacobson
> Vallejo, CA, USA
>
> Clothes are just the costumes we wear every day.
> _______________________________________________
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Subject: Re: [h-cost] Re: Colonial House series
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"medicine of the day"...I did learn at the cast call last night that at
least one of the men had some kind of medical position in real life.
Kathleen
----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 5:49 PM
Subject: RE: [h-cost] Re: Colonial House series


> I'm not a reenactor by any road, but yes, it would be fun(although I'd
> probably make some basic items--shifts, pair of bodies and a skirt,etc in
> natural fabrics if I knew I was going to be on this kind of project)to
bitch
> on the inaccuracy of the supposed accuracy of the project materials
> provided.
>
> And those poor participants were allowed to get sick--they didn't have
> anyone trained in the medicine of the day, especially herbal medicine. On
> Frontier House, there was at least a vet and doctor available. I think the
> idea of having some trained older reenactors as participants to go to
would
> be very helpful, act as a contrast in knowledge of the times, and
eliminate
> the sometimes annoying voice-over!
>
>
>
> I just loved what they did for punishing in this PC era as an equivalent
of
> 17th c punishments on the show, at worst--it was like putting little kids
in
> timeout. Plus the offenders got a one to two hour break from work as the
> worst punishment being ankle-hobbled to a stake. I would have at least
> wanted to take some sewing or mending to do if weather allowed.
>
> If they had at least a set of stocks(the sitting version) or a little
> platform where one had to sit or stand out in plain sight might have been
> more of a deterrent. And most persons looked forward to the Sabbath as a
> break from all but essential work. The time between the two usual services
> was not only taken up by the midday meal, but allowed socializing and
> community interaction. The modern participants seemingly didn't see it
that
> way, some seeing it as imposing on their "me" time. And Sabbath-breaking
was
> also done by those desparate to get needed work done, especially if it
> involved crops, their animals, or home repair.
>
> Cindy Abel
>
> And I think the audience would still enjoy and learn from it.
>
>
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of M Stewart
> Sent: Tuesday, May 18, 2004 3:12 PM
> To: Historical Costume
> Subject: Re: [h-cost] Re: Colonial House series
>
>
>
> Guilty....  oh I would be so totally guilty.  lol.
>    Bridgette
>
> >What you would get, I think, with a group of 17th or 18th century
> reenactors
> >put in this show, is a lot of commentary like "I can't believe they gave
us
> >these bodices, they're so inaccurate for the period" and "okay, the
> >cameras are
> >just totally ruining the mood here ... can you guys please film from
> outside
> >the house?"
> >
> >-Tiffany
>
>
>
> Knitting content - just for the heck of it... I'm having a discussion with
> one of my fiber geek friends - and I was wondering can anyone on this list
> give me their impressions of working with reeled v. spun silk yarn.  Any
> opinions on what might be more appropriate pre-1600?
>
> _______________________________________________
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Well, there's at least two perfectly period ways that I can think of, 
and that's to cover the raw edge with folding braid, or using a 
buttonhole stitch (these show up in some portraits, especially when you 
can see the thing full-size, rather than as a bitty, little reprint in a 
book).
--sue

Becky wrote:
> Besides couching by hand, or using the sewing machine to finish, what are
> some different ways to finish slashed material (the holes the chemise gets
> pulled through) for a Tudor doublet?  What's the best way?  I have heard of
> stitch witchery, but I wondered about other methods for different fabrics.
> For the current project, I am working with velvet, but sometimes work with
> brocades or silk.

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At 11:03 PM -0600 5/18/04, h-costume-request@indra.com wrote:
>OCC: The basic process for reeling silk is to drop the
>coccoons into a pot of gently boiling water, then once
>they start to come apart, find the end and begin to
>unreel the little buggers. You have to unreel
>multiples of them at a time, as an individual strand
>is far too fine to do anything with. Reeled silk is
>much smoother and stronger than spun silk (spun silk
>is created from coccoons that have already lost their
>silk worms/moths).

Yup, was looking for the Silk Reelin for Dummies...
as my Kholander book has gone on a walk about :-)

>If you're interested in doing it for historical
>purposes, it would be wise to do the entire
>sericultural cycle, raising the worms, feeding them,
>and then harvesting the silk. This is how the majority
>of silk was (and is) created; you wouldn't have
>purchased the coccoons and reeled it yourself.

Been there, got the T-shirt <G>
Have a batch of fresh dead bug cases <G>
It's a 1 day demo, so staging instars could be a pain...and the worms 
are rather fragile for traveling.

>A Google of "sericulture" will produce a number of
>sites, most in India, where manual silk reeling is
>still practiced as a cottage industry.

Thanks
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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We don't know that they actually didn't brief her adequately, do we? 
Lord knows, I've known people you can talk and talk at, and they still 
won't take it in if they don't want to.  IIRC, she was pretty young, and 
may just have been plain blown away by the reality, especially if she 
didn't have, say, a full-time job (let alone such a low-status, physical 
one) back in her non-show life.
(that said, I found her irritating as well ;o)
--sue

Kate M Bunting wrote:


> What annoyed me was the kitchenmaid in the "Edwardian Country House"
> who left on the first day, horrified at how hard she would have to work.
> It seemed a waste of everyone's time that the programme makers hadn't
> briefed her better on what to expect - but, as people have been saying,
> perhaps it was staged in order to make a dramatic scene.


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Sure they did...I don't recall any shots of women bent over washtubs, 
but there were shots of tubs being emptied and laundry being hung to dry 
(I distinctly saw shirts and some sort of linen cloths--dish towels, maybe?)
--sue

Lloyd Mitchell wrote:

> The point about the men is well taken.  Early in the second segment, the
> 'leader' (Gov) presents the first rules, one of which dealt with nakedness
> of men and women.  This included the absence of coif, bare arms, and bare
> chests of men in the presence of women. I too was bothered by the
> slovernless of the men in general. No pride of person.
> And, in all the 10 weeks time, no sign or sight of how they handled simple
> laundry.


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Finishing slashed material
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would the folded braid necessarily be the same color, or contrasting, and
would bias tape be a somewhat decent subsitute? also, do you have time/place
where said braid would be used?

Thank you!

-Irmgart

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Sue Clemenger
> Sent: Wednesday, May 19, 2004 8:29 AM
> To: Historical Costume
> Subject: Re: [h-cost] Finishing slashed material
>
>
> Well, there's at least two perfectly period ways that I can think of,
> and that's to cover the raw edge with folding braid, or using a
> buttonhole stitch (these show up in some portraits, especially when you
> can see the thing full-size, rather than as a bitty, little reprint in a
> book).
> --sue
>
> Becky wrote:
> > Besides couching by hand, or using the sewing machine to
> finish, what are
> > some different ways to finish slashed material (the holes the
> chemise gets
> > pulled through) for a Tudor doublet?  What's the best way?  I
> have heard of
> > stitch witchery, but I wondered about other methods for
> different fabrics.
> > For the current project, I am working with velvet, but
> sometimes work with
> > brocades or silk.
>
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I wouldn't use bias tape--it makes modern sense, but I don't know of any 
usage of it in the 16th c.
The braid that I saw on portraits (which I'll admit were all 16th c, and 
almost all English--dunno if that's happenstance or not) was a sort-of 
coordinating metal braid.  The ones that come most clearly to mind, 
without spending a few happy hours going through my costuming texts, are 
a series of portraits of Elizabeth I in the first chapter of Arnold's 
_QE Unlocked_, and on the slashed sleeves on one of the "Bronzino" 
portraits of Eleanor of Toledo.  IIRC, the braid in the Eleanor portrait 
was gold and black, and fairly flat, like a fingerwoven braid.  Her gown 
was gold and black and white.
The chapter in Arnold is where I also saw the buttonhole stitching (on 
slashes on the front part of her doublet).
--sue

Irmgart H wrote:

> would the folded braid necessarily be the same color, or contrasting, and
> would bias tape be a somewhat decent subsitute? also, do you have time/place
> where said braid would be used?
> 
> Thank you!
> 
> -Irmgart


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Hi,
If you want to skip the reeling and the dyeing and just use it for
embroidery try Pipers Silks  in England.
I have tryed many different embroidery threads till now, but i still say
that Pipers is the finest and the best.
http://www.pipers-silks.com/

Bjarne

----- Original Message ----- 
From: "fastusminimus" <cahuff@mindspring.com>
To: <h-costume@indra.com>
Sent: Wednesday, May 19, 2004 2:30 PM
Subject: [h-cost] Re: reeling silk


> At 11:03 PM -0600 5/18/04, h-costume-request@indra.com wrote:
> >OCC: The basic process for reeling silk is to drop the
> >coccoons into a pot of gently boiling water, then once
> >they start to come apart, find the end and begin to
> >unreel the little buggers. You have to unreel
> >multiples of them at a time, as an individual strand
> >is far too fine to do anything with. Reeled silk is
> >much smoother and stronger than spun silk (spun silk
> >is created from coccoons that have already lost their
> >silk worms/moths).
>
> Yup, was looking for the Silk Reelin for Dummies...
> as my Kholander book has gone on a walk about :-)
>
> >If you're interested in doing it for historical
> >purposes, it would be wise to do the entire
> >sericultural cycle, raising the worms, feeding them,
> >and then harvesting the silk. This is how the majority
> >of silk was (and is) created; you wouldn't have
> >purchased the coccoons and reeled it yourself.
>
> Been there, got the T-shirt <G>
> Have a batch of fresh dead bug cases <G>
> It's a 1 day demo, so staging instars could be a pain...and the worms
> are rather fragile for traveling.
>
> >A Google of "sericulture" will produce a number of
> >sites, most in India, where manual silk reeling is
> >still practiced as a cottage industry.
>
> Thanks
> Carol
> -- 
> Creative Clutter is Better Than Idle Neatness!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Marc,

I was just about to say the same thing!!!

If handmade shoes got that bad after 4 months - I would complain to the
shoemaker!!

Also, if I was in that kind of show I would have found a way to stitch the
soles to the uppers so that they won't 'flap' and finally fail at the worse
time.

Lady Katheryne
who was wondering when the subject would turn to shoes 8-)



Original Message:
-----------------
From: Marc Carlson marccarlson20@hotmail.com
Date: Wed, 19 May 2004 00:55:21 -0500
To: h-costume@indra.com
Subject: [h-cost] Re: Colonial House series


Ok, I have to say it - after watching this evening's episodes...

The shoes should not be that hard to take care of - there's no excuse for 
then to fall apart like that in the four months they have them -- and if 
they are slippery, the person isn't walking in them correctly.  There, I've 
bitched :)

Marc

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Subject: Re: [h-cost] Re:Costume movies (for stitching to of course)
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> Seriously, I wasn't being nasty or even advocating classical music. I
mean,
> listen to what you want....and watch what you want. I know a lot of people
who
> can watch TV and sew [and do other things too]. I can't. The screen will
take
> my attention every time.

I guess it all depends how visual you are. I'm not at all visual. I use
touch much more than sight. And, of course, all other senses - for example,
I'm one of the only people I know who'll notice ambient music in a
restaurant. I wonder how much of it comes from my being myopic at a very
early age (I was 6 when I got my first pair of glasses, but my mother had
started suspecting something long before then, it's just that the doctor
refused to test me because I was "too young to have eye problems"). Maybe I
learned to compensate young enough that the abilith stayed with me even when
my sight was corrected.

I'll listen to the radio when I'm working. I'll "listen" to a movie much
more often than I "watch" it. This can cause some problems, because often I
miss big parts of the storyline because I didn't recognize the characters
(but that happens even when I watch the movie closely). Any movie with
enough dialogue is good for sewing. Action movies... well... you can't
really understand what's going on unless you actually look at the screen.
And costume movies kind of BEG you  to watch the screen :-)
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Help

I've made a gorgeous hat and can't document the use of a metal wire (or
anything else) in the brim to strengthen it.  Can anyone point me in the
right direction?  I need to get this turn in for points within a couple of
weeks.  The had is hand carded, hand spun, hand knit (circular) and then
hand felted!  Last time out I lost points for not documenting the wire.

Thanks
Julie

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Greetings all. My apologies if you got this twice--it didn't appear to
have gone on yesterday on my end. My questions concerns this pic:

 http://www.abcgallery.com/H/holbein/holbein39.html

The collar appears to have two different blackwork patterns on it--one on
the inner layer and one on the outer. If that's the case, how would the
collar have been constructed?


seeking clarity,
Arlys



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Lloyd Mitchell wrote:
>  I too was bothered by the
> slovernless of the men in general. No pride of person.

I noticed last night that the men are all wearing their clothes as if 
they had modern sweatpants and t-shirts on. The two oldest men seem to 
be a little neater in appearance than the younger guys. I was shocked at 
how ragged some of the shirts appeared to be after just 8 weeks, I saw a 
lot of holes and split seams that should have been fixed with simple 
mending. The 'colonists' don't seem to have any appreciation for the 
amount of labor that goes into making a single shirt by hand and the 
necessity of keeping it mended.

The woman who won't wear a coif and has her hair in her face all the 
time and her shift down to her elbows and her corset unlaced really 
looks bad. The corsets in general look bad, like they don't fit. I think 
others have observed that already.

I thought it was ironic how they put the keg of beer under a shelter but 
left the cured meats out in the sun. But then, it was probably staged 
for dramatic effect. "Ewww, moldy bacon!".



Dawn


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I did this some years ago with a lorgnette I had.  It was no more
expensive than having new lenses ground for an existing frame.  Yes,
getting fully equipped can be very expensive.
Anne










> Hi.
> I just realised i needed some glasses for my 18th century outfit. When i
> am going to demonstrate embroidery at the 1700 marketplace at the
> mannorhouse of Gammel Estrup. I baught Jas Townsends glasses and some
> nice knee buckles and a nice reproduktion pocket watch........... Have
> any of you had your optician put glasses in your period glasses? Is this
> expensive? I need to get some reading glasses in them, so that i can se
> my embroidery :-) Well it is rather expensive to get fully equiped isnt
> it?
>
> 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>
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Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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Hey Arlys...

two different pieces of cloth...  sewn together along three sides (leave 
the bottom open) with right sides facing one another. then turn the collar 
right side out... attach the bottom of the exterior of the collar -(the 
right side) to the right side of the exterior of the shirt.  Sew along that 
edge.   then turn the collar up press the bulk of the seam to the interior 
of the collar.  fold over the bottom edge of the interior piece of the 
collar and stitch that down.   Done.

Bridgette


>Greetings all. My apologies if you got this twice--it didn't appear to
>have gone on yesterday on my end. My questions concerns this pic:
>
>  http://www.abcgallery.com/H/holbein/holbein39.html
>
>The collar appears to have two different blackwork patterns on it--one on
>the inner layer and one on the outer. If that's the case, how would the
>collar have been constructed?
>
>
>seeking clarity,
>Arlys

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Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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Thanks!

Any guesses on how common this practice was of using two different
patterns? It's quite lovely.

Arlys

On Wed, 19 May 2004 12:49:52 -0400 M Stewart <ms154@cornell.edu> writes:
> 
> Hey Arlys...
> 
> two different pieces of cloth...  sewn together along three sides 
> (leave 
> the bottom open) with right sides facing one another. then turn the 
> collar 
> right side out... attach the bottom of the exterior of the collar 
> -(the 
> right side) to the right side of the exterior of the shirt.  Sew 
> along that 
> edge.   then turn the collar up press the bulk of the seam to the 
> interior 
> of the collar.  fold over the bottom edge of the interior piece of 
> the 
> collar and stitch that down.   Done.
> 
> Bridgette
> 
> 
> >Greetings all. My apologies if you got this twice--it didn't appear 
> to
> >have gone on yesterday on my end. My questions concerns this pic:
> >
> >  http://www.abcgallery.com/H/holbein/holbein39.html
> >
> >The collar appears to have two different blackwork patterns on 
> it--one on
> >the inner layer and one on the outer. If that's the case, how would 
> the
> >collar have been constructed?
> >
> >
> >seeking clarity,
> >Arlys
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Wed, 19 May 2004 17:34:49  0000
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Greetings,

If you can track down: Arnold, Janet.  A Handbook of Costume -- Macmillan 1973. Reprinted 1978. 
She actually discusses the multiple portraits of Jane Seymour and shows them side by side.

Cheers,
Danielle

>I have an image in my portrait file of Jane Seymour with different
>lower sleeves. They appear to be a creamy off-white and are pleated
>from wrist towards the elbow (which of course, can't be seen since
>it's beneath the voluminous folded upper sleeve). The gown appears to
>be the same as in the portrait that's the best known.
>
>I wish I could tell you where it came from, but I've lost the
>documentation over the years. It is identified as being a Holbein and
>does look like one of his works.
>
>I do remember emailing the museum, hoping that they could tell me more
>about it, but they really couldn't. And I do remember that English was
>not their native language.
>
>I'll try to find a place to put the image so that y'all can see it.
>I'll post the url when I can find webspace.
>
>kate
>PS--the blackwork on her chemise cuffs is also different than the
>famous portrait!
>
>
>_______________________________________________
>h-costume mailing list
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>



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Well, actually I'm working on mine at the moment, I have a long way to go until I'm finished. : )  But it does mean that my head is thoroughly submerged in my work and I haven't the fainest idea what is going on in the world around me unless I happen to catch the news at dinner time...

Cheers,
Danielle

>Hey!  I just noticed your sig line!  Congratulations on your success!
>Another doctor in the house  (hee hee)!
>
>Emer \ Gia
>> Cheers,
>> Danielle in PhD land...




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Subject: Re: [h-cost] Re: Colonial House series
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Some skills? Absolutely. But there's a good deal of written evidence that in
terms of knowledge level and skills, many of the colonists (and frontier
settlers) were horribly unprepared.

----- Original Message ----- 
From: "Ron Carnegie" <r.carnegie@verizon.net>


> That is true, but much of the skill described in these shows would be just
> as common back in civilization as well.

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IIRC, Arnold also mentions using wax or gum arabic on the cut edges.  Test on scraps first of course.

Cheers,
Danielle

>Well, there's at least two perfectly period ways that I can think of, 
>and that's to cover the raw edge with folding braid, or using a 
>buttonhole stitch (these show up in some portraits, especially when you 
>can see the thing full-size, rather than as a bitty, little reprint in a 
>book).
>--sue
>
>Becky wrote:
>> Besides couching by hand, or using the sewing machine to finish, what are
>> some different ways to finish slashed material (the holes the chemise gets
>> pulled through) for a Tudor doublet?  What's the best way?  I have heard of
>> stitch witchery, but I wondered about other methods for different fabrics.
>> For the current project, I am working with velvet, but sometimes work with
>> brocades or silk.



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There are also a number of Spanish portraits that show bound slashes.  The one that comes to mind is a woman with the Spanish round sleeves so slashed that it was just a series of giant loopy things.  I think they were red bound in a gold coloured fabric of the same type as the gown...

Cheers,
Danielle 

>I wouldn't use bias tape--it makes modern sense, but I don't know of any 
>usage of it in the 16th c.
>The braid that I saw on portraits (which I'll admit were all 16th c, and 
>almost all English--dunno if that's happenstance or not) was a sort-of 
>coordinating metal braid.  The ones that come most clearly to mind, 
>without spending a few happy hours going through my costuming texts, are 
>a series of portraits of Elizabeth I in the first chapter of Arnold's 
>_QE Unlocked_, and on the slashed sleeves on one of the "Bronzino" 
>portraits of Eleanor of Toledo.  IIRC, the braid in the Eleanor portrait 
>was gold and black, and fairly flat, like a fingerwoven braid.  Her gown 
>was gold and black and white.
>The chapter in Arnold is where I also saw the buttonhole stitching (on 
>slashes on the front part of her doublet).
>--sue
>
>Irmgart H wrote:
>
>> would the folded braid necessarily be the same color, or contrasting, and
>> would bias tape be a somewhat decent subsitute? also, do you have time/place
>> where said braid would be used?
>> 
>> Thank you!
>> 
>> -Irmgart
>
>
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Subject: RE: [h-cost] Re: Colonial House series
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 It was true that most of the early colonists(Roanoke, Jamestown, and
Plimouth)were unprepared to settle in a wilderness. Of the Plimouth
settlers, most were city folk and had lived in Leyden for the ones that
sailed from Holland and the English that joined them later were town or
traditional small farm folk that did not know how to fish or hunt. Since
hunting was a sport for the upper classes anyway on their own private
grounds, the poor colonists were surrounded by wild game and deer with
little skill or means to get their own meat.  Same goes for fishing.
Fortunately hunger creates fast learners but some settlers, with no
experience with a seafood or venison  diet, were loath to give up foods they
were used to for something more plentiful and healthful(Sound familiar?)

Cindy Abel

But



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Date: Wed, 19 May 2004 19:45:45 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: Colonial House series
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I'm just impressed at the amount of training they did actually give 
them, compared to the British versions I've seen.  As someone has said, 
the 1900 House had no clue, and on Surviving the Iron Age they all got 
food poisoning because they didn't even have anyone who could cook on a 
barbecue - nobody with the first inkling of cooking with fire!

Jean



Kitty Felton <basyefelton@floodcity.net> wrote
>LOL, well, we have to remember that if it was done correctly the first
>time, these people would just look like actors to the viewer, not like
>people trying something they aren't used to.
>       I'm no historian, nor even a reenactor, just a camper, and semi-self
>suficient person, but I bet even I would have been rejected, they seem
>to like the city people who've never seen anything that wasn't already
>semi prepared from the supermarket.  Kitty
>
>Gia wrote:
>>
>> Nah, I think you hit the nail in the head...
>>
>> Emer \ Gia
>> > I'm curious to see this series, as my DH and I applied
>> > to participate, and were turned down, as were probably
>> > any other active historical reenactors--we simply make
>> > it look too easy <grin>, and where's the drama in that
>> > for the average American viewer? Barring an Indian
>> > attack or an outbreak of smallpox, about the only
>> > "drama" the producer can work with is how miserable a
>> > bunch of ill-prepared 21st century people are as they
>> > try to deal with living in the early 17th century. Or
>> > do I sound too cynical?
>> >
>> > Dawn
>> >
>> > =====
>> > Dawn Jacobson
>>
>> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: Sewing and multi-tasking
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I have learned that the reason I dislike embroidery, or complex patterns 
for knitting or weaving, is because I have to concentrate on that one 
thing but it isn't enough to really fill my mind.  I like to knit or 
weave or sew while watching TV or listening to the radio (or talking to 
punters).  I used to be able to knit and read at the same time, but with 
the things I do now I don't have enough free knee to put the book on.

Jean


Penny Ladnier <penny@costumegallery.com> wrote
>I have been doing hand sewing while doing a number of things since
>childhood.  I did the majority of my stitching when my kids were little.
>They would play in whatever room I was in.  They were excited with every
>little accomplishment with my project. Nice feeling!  TVs in our house are
>on all the time.  We even situated the TV in my office to where I can look
>over the computer monitor and watch TV. Now I do a lot of repetitive machine
>sewing on quilts.  I watch TV while doing it. Also found that I can bring
>hand sewing into the kitchen.  During the wait times with cooking, I will
>sew and watch TV.  I have always been one of those people who does 10 things
>at one time.
>
>I also carry sewing projects with me when I know that I will be waiting,
>like doctor's offices.  At least I am not as bad as *some* people I know,
>who travel with their sewing machine... not mentioning any names.  LOL!!!
>I have even been crocheting behind the computer and watching TV.  I was
>following an online pattern.  Idle hands are the devil's workshop!
>
>Penny E. Ladnier
>Owner, The Costume Gallery & Costume Classroom
>www.costumegallery.com
>www.costumeclassroom.com
>
>
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Subject: [h-cost] Shoes (was Colonial House series)
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>From: "purplkat@optonline.net" <purplkat@optonline.net>
>I was just about to say the same thing!!!
>If handmade shoes got that bad after 4 months - I would complain to the
>shoemaker!!

Absolutely.

>Also, if I was in that kind of show I would have found a way to stitch the
>soles to the uppers so that they won't 'flap' and finally fail at the worse
>time.

I'm not sure they could.  Unsubstantiated rumor has it that the soles were 
stuck in with some sort of adhesive, so there may not have been any kind of 
stitch holes.  Without stitch holes, and without an awl, repairs are hard to 
make.

I think this ties into the whole thing about not understanding how much work 
goes into making clothes and how to deal with them properly.   We (as a 
culture) don't encourage that sort of care in our stuff these days.  We have 
too much stuff, and it's too easily replaced.    Don't get me wrong, I'm 
hard on my clothes when I'm _not_ actively out doing stuff like farming andf 
building a house :)   Even so, while watching me chew through a pair of 
sneakers every year, I have sitting in the back of my mind my grandmother 
..."*wack*  Don't you kave any idea how much those shoes COST?"  :)

Marc

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From: Kitty Felton <basyefelton@floodcity.net>
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Subject: Re: [h-cost] Re: Colonial House series
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I'd like to have seen that.   sounds interesting.   Kitty

Sue Clemenger wrote:
> 
> I've seen some of the Canadian ones (the folks who spent a year?
> homesteading), and I really like them, not that I'm exactly a
> representative American or anything!
> And it wasn't the whiny *kids* on Frontier House that drove me nuts, it
> was the whiny *adults.*  And the one girl (the newlywed?) who didn't
> even know how to cook (geeze, I woulda at least been cheating by going
> down to the local library or used bookstore, and looking for Foxfire
> books or something!)  And the straggly hair  (good grief, the first
> thing I do when I'm cleaning house or when I used to do field or barn
> work on my folks' farm was to braid my hair back, and put on a hat or
> scarf of some sort!)
> You're right, though, to remind us that there's a lot of editing going
> on with these things--I wonder what it's like to be a participant in one
> of these shows, and then see how it's portrayed to everyone else!
> --sue
> 
> Ron Carnegie wrote:
> 
> >    Actually the Canadian "quest" series does use a knowledgeable cast I
> > believe are by far the more interesting shows.  Would the rest of America
> > agree I don't know.  I know the makers of the American ones would not agree.
> > A friend of mine was the domestic advisor for Frontier House.  She told me
> > that the whiny, complaining kids of that series were actually very nice
> > kids.  She reminded me that they were on the Frontier for a number of months
> > and that the show was only about six hours long.  With that in mind these
> > shows teach far more about what the Producers, Directors, and Editors find
> > important than what really happened.
> >
> > Cheers,
> > Ron
> 
> _______________________________________________
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Interesting.  To me that reads clearly as stitched down gathers/pleats and tied at the openings with black ribbons.  It is clear that the black ribbon doesn't go through a casing and there are no apparent white ribbons or ties that would suggest gathered drawstrings to me.  Just my take on it.

Cheers,
Danielle

>Greetings,
>
>You have received a virtual postcard. You can view it by directing
>your browser to the URL http://www.kfki.hu/~arthp/postcard.cgi?code=628748&lang=0&action=read
>
>Best wishes,
>Postcard Service, Web Gallery of Art
>http://www.kfki.hu/~arthp/
>



Need a new email address that people can remember
Check out the new EudoraMail at
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Finishing slashed material
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>There are also a number of Spanish portraits that show bound slashes.  The 
>one that comes to mind is a woman with the Spanish round sleeves so slashed 
>that it was just a series of giant loopy things.  I think they were red 
>bound in a gold coloured fabric of the same type as the gown...

I thought she meant slashed, as in cut, rather than paned, which often have
finished edges.  The cut-edged slashed items don't usually have binding
around the edges, where the paned ones often do.

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

             //// \\\
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            (((  <> ))))
               )   ((((((
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Hi Lena,
	looks interesting! I wish I could read Swedish (or write 
it). I checked at the English Forum, but there doesn't seem 
to be much in the way of activity. Would I be able to get 
some help there?
	I'd love to make a 15th cent Swedish dress, but I have a 
few questions on details.
	Thanks,
	-Judy Mitchell


Lena Strid wrote:
> The breast feeding topic came up a few months ago on the Swedish Medieval
> re-enactment/living history forum
> (http://www.historiska.se/histvarld/forum/) and a few pictures were linked
> to. As I don't have internet access right now, I cannot unfortunately check
> it for you. But they have an English forum part as well, further down on the
> page. Ask there, and I'm sure someone will give you the links. 
> 
> Best of luck,
> Lena 
> (goes back to lurking)

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Jean Waddie wrote:
> 
> I have learned that the reason I dislike embroidery, or complex patterns
> for knitting or weaving, is because I have to concentrate on that one
> thing but it isn't enough to really fill my mind.  I like to knit or
> weave or sew while watching TV or listening to the radio (or talking to
> punters).  I used to be able to knit and read at the same time, but with
> the things I do now I don't have enough free knee to put the book on.
> 
> Jean
> 
Now THAT's multi tasking.  I used to read and walk down the hall at the
same time, or read a fiction book and take notes on a lecture at the
same time, and I still read and watch TV at the same time.   but I take
my hat off to anyone that can sew and read at the same time, or read and 
compute and watch TV at the same time.   I am an amateur.   Kitty

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Well, I have to completely disagree with "E House" on this one. I did get to
see some of Colonial House last night -- parts of two different episodes --
and that was more than enough for me. This show is simply ridiculous. I
think the Voorhees (?) family alone is more annoying than the entire crew on
the Frontier House, which I very much enjoyed.

The part I saw most of was the Sabbath breaking scene. First of all, the
whole thing was completely stupid. If people weren't signed on to be pretend
New Englanders, who would gladly have stuck anyone who skipped Sabbath
directly in the stocks, then the whole thing is just Survivor in colonial
clothes. And second, I found it personally offensive. Though my own
religious beliefs are far from Puritan, I think using religion to drum up
some fake drama is a new low for reality television.

In the few minutes of the show I watched, I saw people skinnydipping,
talking about how they couldn't have "great sex" in colonial days, confiding
their homosexuality, and refusing to wear caps because of "feminism." This
may be typical prime time television fare -- but hey, I watch public
television to get away from typical prime time television fare.

And as I said, that's quite enough for me.

Gail Finke

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In a message dated 5/19/04 9:42:49 PM Central Daylight Time, 
gailscott@eos.net writes:
Though my own
religious beliefs are far from Puritan, I think using religion to drum up
some fake drama is a new low for reality television.


I actually thought this about the whole homosexual issue.  For pete's sake, 
can we have just one show anymore where we aren't tripping over someone's 
sexual preference?  I frankly would have been happy never even considering who or 
what these people get it on with after the cameras go off.

I am not homophobic by any means; the issue of homosexuality is actually the 
one huge area where I differ enormously from my usual political party's 
platform.  I believe in the rights of homosexuals to live their lives to whatever 
extent heterosexuals do.  I also believe that they have a right - and I sure 
wish some of them would exercise it more often - to SHUT UP and not even broach 
the subject in inappropriate situations and manners.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: colonial house
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Personally, I was waiting for the Princess bride quote- "well, you've
been doing a great job, Wesley, but I'm going to have to kill you in the
morning.."

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Tiffsewsstuff@aol.com
Sent: Wednesday, May 19, 2004 9:49 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Re: colonial house

In a message dated 5/19/04 9:42:49 PM Central Daylight Time, 
gailscott@eos.net writes:
Though my own
religious beliefs are far from Puritan, I think using religion to drum
up
some fake drama is a new low for reality television.


I actually thought this about the whole homosexual issue.  For pete's
sake, 
can we have just one show anymore where we aren't tripping over
someone's 
sexual preference?  I frankly would have been happy never even
considering who or 
what these people get it on with after the cameras go off.

I am not homophobic by any means; the issue of homosexuality is actually
the 
one huge area where I differ enormously from my usual political party's 
platform.  I believe in the rights of homosexuals to live their lives to
whatever 
extent heterosexuals do.  I also believe that they have a right - and I
sure 
wish some of them would exercise it more often - to SHUT UP and not even
broach 
the subject in inappropriate situations and manners.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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I've been following this discussion and I managed to catch the "making
of" for the show which was tacked onto the end of the "secrets of the
Dead" show about the Normandy Beaches.  
	anyway, it seems that the women actually were Told to wear the corsets
on the outside, by someone.   one of the producers or costumers
mentioned it like the women were such little troupers for wearing their
corsets over their "blouses".   

I missed the whole show but they are showing the last segment from 1am
to 3 am so I am going to try to find a tape and catch that segment at
least.   thought you all might find that tidbit interesting.  Kitty

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yes, this is the way I envision a good show, this would work wonderfully
as far as i can see.   Kitty




Lynn Downward wrote:
> Yes, yes yes! It would be wonderful to see an older reenactor couple in the
> house down the way who could be the older, wiser generation that the others
> could go to for help when it became necessary. Families historically have
> had an older generation to learn from; grandpa or even great-grandpa would
> be able to show one how to work on the tractor or fix the broken mangle
> washer or how to make certain that bread WILL rise, even if the yeast is
> old. I think that would still be entertaining and educational television,
> without putting the people or their relationships in jeopardy.
> 
> LynnD
> 
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi, i just remembered a funny thing that happened to me and Leif last summer when we were on vacation to Portugal.
We were going to find an art museum in Porto and we had map with us and we walked and walked. Finally i thoaght that we had found the place because there were a lot of people  queueing inside the building. I stood up in the line, and when it got my turn, i asked to get two tickets.
The lady looked very strange at me and said 2 tickets? This is a hospital.
You can imagine how silly i looked when i walked away from that line. I was glad that most of the people there, did not understand what i had asked for.

Bjarne  





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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<snip>
> > "The bride opted for an elegant medieval look with a gown featuring
> > lily-shaped sleeves, a dramatic almost off-the-shoulder neckline and
> > panels opening out from the waist to reveal 100-year-old lace"
> >
> > I know a fair amount about medieval, and although this is lovely and
> > chic and all those things, it sure doesn't look medieval to me!
>
> I agree. But to people whose knowledge of historic costume is limited to
> Victorian paintings and the occasional movie, anything with "lily shaped"
> sleeves will look medieval.  :-)
> Cathy Raymond <cathy@thyrsus.com>
>

Of course being associated with a princess (and the 'commoner' marrying 'the
handsome prince') also helps conjure up images of the middle ages (whether
authentic or pre-raphaelite interpretations) as that is the most popular
style for fairytale princesses (I certainly noticed 'fairytale' being used a
lot in news reports about the wedding).
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Colonial House series
Date: Wed, 19 May 2004 21:25:17 +1000
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----- Original Message -----
From: "Dawn Jacobson" <dme_maud@pacbell.net>
To: <h-costume@indra.com>
Sent: Wednesday, May 19, 2004 4:20 AM
Subject: [h-cost] Re: Colonial House series


<snip>
> >From the clips I've seen as part of the advertising
> run-up to the series premiere last night, it appeared
> to me that the women "colonists" were working in their
> corsets, but not their bodices; for those that haven't
> seen the series yet, if you've ever been at a LH
> demonstration before/after hours, while people are
> getting ready, most of the women I saw looked about
> the same as 15th/16th C. women reenactors when they
> gotten as far as putting on their shifts, corsets,
> petticoats and skirts, but haven't put their bodices
> or sleeves on yet. A check of the PBS Web site page to
> "meet the colonists" reveals that yes, these women
> were running around in what most of us would consider
> their underwear. The same appears to hold true for the
> men--if the photos on the Web site are any indication,
> only the 2 men from the UK seem to realize that a
> "civilized" man was not seen in his shirt sleeves.
>
> I'm curious to see this series, as my DH and I applied
> to participate, and were turned down, as were probably
> any other active historical reenactors--we simply make
> it look too easy <grin>, and where's the drama in that
> for the average American viewer? Barring an Indian
> attack or an outbreak of smallpox, about the only
> "drama" the producer can work with is how miserable a
> bunch of ill-prepared 21st century people are as they
> try to deal with living in the early 17th century. Or
> do I sound too cynical?
>
> Dawn
>

We haven't seen this yet (though if it's a success we'll probably see it in
a few months), but the whole wearing just corsets was something I noticed
about Frontier house, I also saw 1 or 2 of the girls wandering around
without their chemises under their corsets and cringed (those corsets are
going to get dirty and be hard to wash and they're going to get sunburnt
because funnily enough sunblock isn't period). On the topic of the UK/USA
divide did you get the UK series the Edwardian country house, It certainly
didn't have costuming slip ups, (but then again it's a very different
environment being part of an upper class household where propriety is so
vitally important compared to being a pioneer type out in the middle of
nowhere) but still there seemed to be quite unrealistic expectations on the
part of several of the servants especially the 1st (I think they went
through 3) scullery maid. No you don't sound too cynical, though an Indian
attack or an outbreak of cholera etc (smallpox might be a bit hard to get
hold of but contaminated water is always a good source of disease) would be
interesting to see *g*. after all they are trying to entertain people, it's
the same with most 'reality TV' conflict or hardship gets people much more
interested than everybody getting along fine, and of course if they wanted
to get pictures of people acting like this was ordinary everyday life they
would film people in their ordinary everyday life.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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From: Katy Bishop <vintage@shore.net>
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Subject: [h-cost] costume exhibits
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Here are some costume exhibit listings from my latest costume society
newsletter.

A. IT'S ABOUT TIME: Opening at the Cincinnati Art Museum on
June 19 is "It's About Time: Dressing Through the Day." The
author of the 1866 journal "The Habits of Good Society"
stated that: "The perfect agreement of...dress with the hour
and the occasion is the secret of...success." While
appropriate dress was an important social ritual in the 19th
century, it is one that we continue to engage in on a daily
basis. Considered by the time of day during which they would
have been worn, the objects in this exhibition are recent
gifts and purchases. This exhibition, open through October
10, 2004, celebrates the richness of the Cincinnati Art
Museum's costume collection and the generosity of its
donors. http://www.cincinnatiartmuseum.org.

B. WESTERN RESERVE: "The Daring Decade: Women in the 1920s"
opens this month at the Western Reserve Historical Society
in Cleveland, OH. The exhibit runs through October 24, 2004
and shows how the 1920s were a decade of rapid change, when
an emphasis on youth and adventure overcame the traditional
social and moral restrictions placed on women.  It showcases
40 costumes from the Society's collection, plus decorative
arts and library archives to address this dramatic
transition in the societal role of the American woman. See
the website: http://www.wrhs.org.

C. MARK TWAIN: LYNNE BASSETT, an independent scholar from
Maine, is the guest curator of the exhibition "'Modesty died
when clothes were born': Costume in the Life and Literature
of Mark Twain." The exhibit opens at the Mark Twain House in
Hartford, CT on June 26 and runs through October, 2004. See
the website: http://www.marktwainhouse.org/.

D.  JAZZ ERA: The "Objects of Desire: Cars and Clothes of the Jazz
Age" exhibit opens May 29, 2004 at the Indiana State Museum in
Indianapolis, featuring Jazz-era costumes and seven Indiana-made
classic cars.  The 1920s and 1930s, a dynamic period in American
history, was symbolized by great wealth and extreme poverty, danger,
excitement, Hollywood glamour, and dreams of unlimited opportunities.
And no icon is more representative of that era than the classic
Indiana-made automobile.  Style and fashion were a major part of the
Jazz Age.  "High style" clothing from the era will be on display in
the exhibit, from Fortuny gowns to raccoon coats.  At an opening
"speakeasy" event on Friday evening, June 4, visitors are invited to
dress in Jazz Age attire and dance to the sounds of a live band!  The
exhibit runs through October 3, 2004.  Call 317-232-1637 for more
information.
http://www.in.gov/ism/PlanningYourVisit/EventsCalendar.asp?Month=5&Day=2

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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Oh, goodness! That's funny and embarrassing at the same time!
Did you ever find your museum?
--sue, going back to her knitting ;o)

Bjarne og Leif Drews wrote:
> Hi, i just remembered a funny thing that happened to me and Leif last
> summer when we were on vacation to Portugal. We were going to find an
> art museum in Porto and we had map with us and we walked and walked.
> Finally i thoaght that we had found the place because there were a
> lot of people  queueing inside the building. I stood up in the line,
> and when it got my turn, i asked to get two tickets. The lady looked
> very strange at me and said 2 tickets? This is a hospital. You can
> imagine how silly i looked when i walked away from that line. I was
> glad that most of the people there, did not understand what i had
> asked for.
> 
> Bjarne

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on 5/19/04 1:03 AM, Sue wrote:

> You're right, though, to remind us that there's a lot of editing going
> on with these things--I wonder what it's like to be a participant in one
> of these shows, and then see how it's portrayed to everyone else!
> --sue

My husband asked me to tell all the European, Australian, and other
non-Americans on this list that all Americans are NOT like the people on
Colonial House. He is as disgusted with them as I am.

My impression is that the producers told these people to act the way they
would today if someone told them they had to go to church, or do anything
they don't like. Obviously no one told them to imagine they were real New
Englanders. In the part I saw, the Voorhees woman mused about whether or not
she would have stood up for her convictions back in 1628. The obvious answer
is yes -- and her convictions would have been Puritan, or she wouldn't have
been there. 

No one told them to wear the clothes the way people really would have worn
them. No one told the servants to behave like servants. No one told them to
do what the governor said. The show is the most worthless of all the "house"
shows I've seen.

Gail Finke

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Subject: Re: [h-cost] Re: Colonial House series
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--- Elizabeth Walpole <ewalpole@austarmetro.com.au>
wrote:
<snip>
> the whole wearing just corsets
> was something I noticed
> about Frontier house, 
<snip>
> the UK series the Edwardian
> country house, It certainly
> didn't have costuming slip ups, (but then again it's
> a very different
> environment being part of an upper class household
> where propriety is so
> vitally important compared to being a pioneer type
> out in the middle of
> nowhere)

I haven't studied frontier living, but it would seem
to me that propriety would also be very important
there, if for different reasons.  They were trying to
impose "order" on the wilderness.  They were civilized
people, and it would seem to me that they would cling
to what trappings of civilization they could, to
distinguish themselves from the "wild Indians," and
have some feeling that they were succeeding in making
this a place fit for people to live in.  When you're
sick, get dressed and brush your hair, and you feel
better.  If I thought I were better than a bunch of
wild heathens, I certainly would not run around in my
underwear, to prove it.

Is this just a modern interpretation that's totally
off-base, or does anyone else think there might be
something in the idea?

-Angela


	
		
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Yes, we did get Edwardian House--it's one of my favorites.  I've seen it 
two or three times, now--my station occasionally does it as reruns, 
along with the Iron Age one, and one done in Canada with homesteaders. 
Haven't seen 1900 House or the new one done in Jane Austin's day yet, 
though.  Local station made a fairly big deal about Pioneer House, 
because it was filmed locally (well, relatively locally, Montana's a big 
state).
--sue

Elizabeth Walpole wrote:


> We haven't seen this yet (though if it's a success we'll probably see it in
> a few months), but the whole wearing just corsets was something I noticed
> about Frontier house, I also saw 1 or 2 of the girls wandering around
> without their chemises under their corsets and cringed (those corsets are
> going to get dirty and be hard to wash and they're going to get sunburnt
> because funnily enough sunblock isn't period). On the topic of the UK/USA
> divide did you get the UK series the Edwardian country house, It certainly
> didn't have costuming slip ups, (but then again it's a very different
> environment being part of an upper class household where propriety is so
> vitally important compared to being a pioneer type out in the middle of
> nowhere) but still there seemed to be quite unrealistic expectations on the
> part of several of the servants especially the 1st (I think they went
> through 3) scullery maid. No you don't sound too cynical, though an Indian
> attack or an outbreak of cholera etc (smallpox might be a bit hard to get
> hold of but contaminated water is always a good source of disease) would be
> interesting to see *g*. after all they are trying to entertain people, it's
> the same with most 'reality TV' conflict or hardship gets people much more
> interested than everybody getting along fine, and of course if they wanted
> to get pictures of people acting like this was ordinary everyday life they
> would film people in their ordinary everyday life.
>

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Uhm...what time period are you trying to document the hat to? A wire 
would be appropriate for some hats, and not for others....
--sue, working on her own knitted/felted hat

Julie wrote:

> Help
> 
> I've made a gorgeous hat and can't document the use of a metal wire (or
> anything else) in the brim to strengthen it.  Can anyone point me in the
> right direction?  I need to get this turn in for points within a couple of
> weeks.  The had is hand carded, hand spun, hand knit (circular) and then
> hand felted!  Last time out I lost points for not documenting the wire.
> 
> Thanks
> Julie
> 


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We watched Romeo & Juliet last night during our sewing
circle. This is the one from 1968. Overall I think
they did a good job with the men's costumes. I am
definitely going to have to watch this again over the
weekend. My favorite dress was the one worn by
Juliet's mother for the party. This is the first time
I've seen this movie since 1973-74. Obviously my
perspective is quite different.

Catalina

=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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Subject: Re: [h-cost] Finishing slashed material- paned vs slashed
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The paned sleeves, rather than slashed, appear to be
rather common in Spanish garments. But they are not
exclusively paned. A lot of these portraits you have
to see something larger than an online version to see
the difference.

Catalina

 --- Carolyn Kayta Barrows <kayta@frys.com> wrote: >
>There are also a number of Spanish portraits that
> show bound slashes.  The 
> >one that comes to mind is a woman with the Spanish
> round sleeves so slashed 
> >that it was just a series of giant loopy things.  I
> think they were red 
> >bound in a gold coloured fabric of the same type as
> the gown...
> 
> I thought she meant slashed, as in cut, rather than
> paned, which often have
> finished edges.  The cut-edged slashed items don't
> usually have binding
> around the edges, where the paned ones often do.
> 
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
> 
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
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=====
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Subject: Re: [h-cost] help with hat documentation
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Julie, what is the period of your hat?
Kathleen
----- Original Message ----- 
From: "Julie" <jtknits@cts.com>
To: <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 4:52 PM
Subject: [h-cost] help with hat documentation


> Help
>
> I've made a gorgeous hat and can't document the use of a metal wire (or
> anything else) in the brim to strengthen it.  Can anyone point me in the
> right direction?  I need to get this turn in for points within a couple of
> weeks.  The had is hand carded, hand spun, hand knit (circular) and then
> hand felted!  Last time out I lost points for not documenting the wire.
>
> Thanks
> Julie
>
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Subject: Re: [h-cost] Re: Colonial House series
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In a message dated 5/20/04 8:44:09 AM Central Daylight Time, 
ivyharpdotcom@yahoo.com writes:
Is this just a modern interpretation that's totally
off-base, or does anyone else think there might be
something in the idea?

-Angela


ROFL!  I think you made *excellent* points.  There was a GREAT deal of pride 
in the colonists, and a huge amount of conviction.  To imagine (as some of the 
cast on the show seems to) that they were a bunch of slackers who came over 
here so they could sit around in their underoos and pretend society didn't have 
any rules, is just absurd.

I don't know how you get that across to anyone, though.  There's so little 
that is actually considered taboo anymore in our modern society, other than 
actually having a negative opinion (otherwise known as the dreaded "judging") 
about anyone else's behavior.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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In a message dated 5/20/2004 6:42:58 AM Pacific Daylight Time, 
gailscott@eos.net writes:

<< In the part I saw, the Voorhees woman mused about whether or not
 she would have stood up for her convictions back in 1628. The obvious answer
 is yes -- and her convictions would have been Puritan, or she wouldn't have
 been there.  >>

With all due respect, even back in 1628, just because people had been raised 
in a Puritan society did not necessarily mean that all persons living in that 
community held the same convictions -that's what the stocks were for  -  It's 
also one of the reasons the other colonies were formed.  

Jane
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It has occurred to me that in this remote colony that the washing of clothes would not have been a 'cottage chore'. That is, that the laundry would have been taken to the water and not vis a vis. And without a cooper, where would they have come by a tub.  I suspect that cordage would not be plentiful enough to allow for a clothes line. And what of the soap problem? 
As for the disheveled troop and the other problems of care for their costumes, they seem to be operating on the same premise as contemporary folk," we can always get it new at the store".
For you who do encampments for extended time, like Pensic, do you deal with laundry or rather take all you will need for the time away?
Kathleen
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*snip*
For you who do encampments for extended time, like Pensic, do you deal
with laundry or rather take all you will need for the time away?
Kathleen

I take as much as I have done and then do laundry, though not on site.

Regardless of how much the water's filtered, it seems that my white
stuff takes on a red tinge (loads of iron in the water). In the
section where my husband camps, if the water is left to sit in a pot,
after a while it rather looks like tomato soup!

We camp apart--I can't do the hills anymore and he won't give up
camping by the lake! :-)

kate


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Hey there...  Laundry...  a topic that I know a good deal about,  both 
historical and modern.

OK... at Pennsic  I do laundry.

Chemises, partlets, coifs, the occaisional petticoat hem.  I have made my 
own soap of oak ashes and pork fat,  not a chore I plan to do with any 
regularity.  When I wash I usually am doing small items,  so one bucket of 
a fairly strong soap solution in water (I don't use the ground water - too 
much iron) is where I start,  soak the items for the morning.

Then using a board and a beater I place the garments on the board and force 
the soapy water out... and dunk, and force more soapy water through it... 
repeat.  Rinse (sometimes yes, sometimes no)  Then wring.

If I need a laundry line I usually have one along one edge of our long 
communal tent.  But I prefer to lay things out on the fields to air and 
bleach.  Gotta walk a long way from the roads (dust) and make sure the 
field isn't scheduled for anything else that day...  (feet, arrows... ) Try 
to place the cleaned items out about 11am   and let them go until about 3 
or 4 pm...  Turning once...  and that's it.

Bridgette


>It has occurred to me that in this remote colony that the washing of 
>clothes would not have been a 'cottage chore'. That is, that the laundry 
>would have been taken to the water and not vis a vis. And without a 
>cooper, where would they have come by a tub.  I suspect that cordage would 
>not be plentiful enough to allow for a clothes line. And what of the soap 
>problem?
>As for the disheveled troop and the other problems of care for their 
>costumes, they seem to be operating on the same premise as contemporary 
>folk," we can always get it new at the store".
>For you who do encampments for extended time, like Pensic, do you deal 
>with laundry or rather take all you will need for the time away?
>Kathleen

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From: "Susan Carroll-Clark" <nicolaa@rogers.com>
To: "Historical Costume" <h-costume@indra.com>
References: <12e.42250772.2dde19a7@cs.com>
Subject: Re: [h-cost] Re: colonial house
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Greetings--

> With all due respect, even back in 1628, just because people had been
raised
> in a Puritan society did not necessarily mean that all persons living in
that
> community held the same convictions -that's what the stocks were for  -
It's
> also one of the reasons the other colonies were formed.

Yes, but the chances she would have gotten on a boat with a lot of Puritans
to escape religious persecution would have been slight.

Susan

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Subject: Re: [h-cost] Laundry/ Colonial series
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For camping at places like Pennsic thank goodness there are washers and
dryers. But if all else fails don't underestimate the power of beating
clothes on rocks.


=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "H-Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 10:35 AM
Subject: [h-cost] Laundry/ Colonial series


It has occurred to me that in this remote colony that the washing of clothes
would not have been a 'cottage chore'. That is, that the laundry would have
been taken to the water and not vis a vis. And without a cooper, where would
they have come by a tub.  I suspect that cordage would not be plentiful
enough to allow for a clothes line. And what of the soap problem?
As for the disheveled troop and the other problems of care for their
costumes, they seem to be operating on the same premise as contemporary
folk," we can always get it new at the store".
For you who do encampments for extended time, like Pensic, do you deal with
laundry or rather take all you will need for the time away?
Kathleen
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Thu, 20 May 2004 16:45:00 +0200
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Subject: [h-cost] finished bodice foundation 
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Hi,
Now i have finished the bodice foundation.
http://www.my-drewscostumes.dk/estrup2.htm
I think this was the hardest to do. Now i must drape the bodice with some beautifull seams.
And make the pannier. Made 15 lacingholes at the center backs.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
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Several people on the list have mentioned an Iron Age show; I don't remember
it showing in tthe NYC or Pittsburgh markets.  I searched the PBS website
for it and haven't found a hit yet.
Does anyone have the actual name of the program?  It might help me find info
on it.
Thanks,
\               -Helen/Aidan


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Subject: [h-cost] opinions on PACC?
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Is there anyone here who sews professionally who is,
or has been, or has looked into it and chosen not to
be, a member of the Professional Association of Custom
Clothiers?  (http://www.paccprofessionals.org/)  I'm
trying to evaluate whether it would be of value for me
to join, and would love to hear others' opinions.

Thanks
-Angela


	
		
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As I remember, homosexuality was a burning-at-the-stake offense in those days.

Katie


>I actually thought this about the whole homosexual issue.  For pete's
>sake,
>can we have just one show anymore where we aren't tripping over
>someone's
>sexual preference?



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<< In the part I saw, the Voorhees woman mused about whether or not
 she would have stood up for her convictions back in 1628. The obvious
answer
 is yes -- and her convictions would have been Puritan, or she wouldn't have
 been there.  >>

Her convictions would not have necessarily been "Puritan"(actually the term
at the time was "Brownist", I think). Among the original "Pilgrims" were the
"Strangers", those that weren't dissenters from the Church of England but
were desparate enough to try to get a better life to take the hazardous
chance of settling in a new and distant land, as very possibly, the plan all
along, was to not to settle near the Virginia colony, but someplace more
distant(although I believe the Mayflower got blown much further off course
than the colonists had wanted).

The model for dissention by a woman(actually she was pushing for reform as
she saw it)was Anne Hutchinson, almost a decade later, in Boston.

Watching the series(for costumes first!)one really gets the sense of why it
was so important not to slack off, why what we would term "dress code" was
enforced, and why single persons of age to be married, like the young men in
this series, weren't really permitted to live without the supervision of a
master or mistress, usually under said master or mistress's roof.  The
single men in this series really needed someone to cook, clean and make sure
their clothing(if not their "spiritual welfare)was kept in order.

Cindy Abel

With all due respect, even back in 1628, just because people had been raised
in a Puritan society did not necessarily mean that all persons living in
that
community held the same convictions -that's what the stocks were for  -
It's
also one of the reasons the other colonies were formed.

Jane
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With all the commentary about "Paying back their investors" I didn't
think religious persecution was their main reason for being there..

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Susan Carroll-Clark
Sent: Thursday, May 20, 2004 9:52 AM
To: Historical Costume
Subject: Re: [h-cost] Re: colonial house

Greetings--

> With all due respect, even back in 1628, just because people had been
raised
> in a Puritan society did not necessarily mean that all persons living
in
that
> community held the same convictions -that's what the stocks were for
-
It's
> also one of the reasons the other colonies were formed.

Yes, but the chances she would have gotten on a boat with a lot of
Puritans
to escape religious persecution would have been slight.

Susan

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Angela Kessler wrote:
> 
> I haven't studied frontier living, but it would seem
> to me that propriety would also be very important
> there, if for different reasons.  They were trying to
> impose "order" on the wilderness.  They were civilized
> people, and it would seem to me that they would cling
> to what trappings of civilization they could, to
> distinguish themselves from the "wild Indians," and
> have some feeling that they were succeeding in making
> this a place fit for people to live in.  When you're
> sick, get dressed and brush your hair, and you feel
> better.  If I thought I were better than a bunch of
> wild heathens, I certainly would not run around in my
> underwear, to prove it.
> 
> Is this just a modern interpretation that's totally
> off-base, or does anyone else think there might be
> something in the idea?
> 
> -Angela
> 
>From all I've read that's exactly the attitude most of the colonials
took.   even the pioneers took that attitude, often taking the time to
set a table with table cloth and china for the evening meal.   Kitty

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Subject: [h-cost] Was Laundry/ Colonial series, now long term camping
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Kathleen wrote:
For you who do encampments for extended time, like Pensic, do you deal with
laundry or rather take all you will need for the time away?

The first year I came to Pennsic for more than a week, I went off-site to
the laundromat.  Not so good.  The next year I came with enough clothes to
last more than two weeks, and did my undies in woolite while I was in the
shower a couple of times.
I moved to the area a couple of years ago, and have the luxury of being able
to make a trip home every three or four days.  I exercise, get groceries, do
laundry and/or bring back more appropriate clothes.  It's nice.
                      -Helen/Aidan


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I respectfully disagree.

I find three things interesting about this neckline
1. The drawstring is not white, but is used decoratively as well as 
functionally.
2. There are two drawstrings tied with bows in front of the clavicles 
rather than a single bow at center front.
3. That the chemise is so exposed.

Now, regarding the drawstrings:
If you click on the picture enough times you get a *very* enlarged image 
that shows much detail. Look at the bow on the right side of the picture. 
Look at the left-hand aiglette. Follow that cord back to the bow. Where the 
cord intersects the bow is a section of cord jutting to the left and 
disappearing into the casing. The casing opening is even rounded where the 
round cord enters the casing. To me this is evidence of a casing with a 
cord coming out of the casing and the cord (drawstring) being tied in a 
bow. The cord is a round cord as would be used as a drawstring. The bow 
looks functional rather than decorative.

The drawstring is round -- definitely not a flat ribbon. The pleats are a 
decorative edge trimming the neckline. The pleats attach to the body of the 
chemise at the top of the casing.

As always, my opinion.

Katie

At 10:17 PM 5/19/2004 +0000, you wrote:
>Interesting.  To me that reads clearly as stitched down gathers/pleats and 
>tied at the openings with black ribbons.  It is clear that the black 
>ribbon doesn't go through a casing and there are no apparent white ribbons 
>or ties that would suggest gathered drawstrings to me.  Just my take on it.
>Danielle


>  http://www.kfki.hu/~arthp/postcard.cgi?code=628748&lang=0&action=read



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From h-costume-bounces@indra.com  Thu May 20 12:04:49 2004
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Subject: Re: [h-cost] opinions on PACC?
Date: Thu, 20 May 2004 09:00:12 -0700
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I *was* a member and, unfortunately, I didn't really get to reap all the
benefits of it.  The process of application requires letters of reference,
and then you get a membership card (which I never did receive) and you
attend 'functions' in where you can network.  Networking is the key purpose
of the group, if I understood it correctly.

Attending the functions are at your expense, and (when I was a member) are
held typically during the days.  I couldn't attend those as I was also
trying to work fulltime.  I never did past probationary stage.

I cancelled my membership because I found that in order to benefit from it,
I would have had to be *far* more active in the group that I could, at that
time.  I'm looking at maybe trying to re-join, IF things fall into place and
I can *really* start up a full-blown business sewing and crafting.

Emer \ Gia
----- Original Message ----- 
From: "Angela Kessler" <ivyharpdotcom@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 8:13 AM
Subject: [h-cost] opinions on PACC?


> Is there anyone here who sews professionally who is,
> or has been, or has looked into it and chosen not to
> be, a member of the Professional Association of Custom
> Clothiers?  (http://www.paccprofessionals.org/)  I'm
> trying to evaluate whether it would be of value for me
> to join, and would love to hear others' opinions.
>
> Thanks
> -Angela
>
>
>
>
> __________________________________
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From h-costume-bounces@indra.com  Thu May 20 12:18:57 2004
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What she said! <g>
I always figured that the Bronzino of Eleanor of Toledo (the one with 
the black/gold/white dress) showed her with paned sleeves (i.e., sleeves 
made of several separate strips of fabric), but seeing one of the real 
portraits, it's obvious that the sleeve openings are slashes, and the 
edges are finished with a braid.
--sue

Catalina Saravia Quicedo wrote:
> The paned sleeves, rather than slashed, appear to be
> rather common in Spanish garments. But they are not
> exclusively paned. A lot of these portraits you have
> to see something larger than an online version to see
> the difference.
> 
> Catalina
> 
>  --- Carolyn Kayta Barrows <kayta@frys.com> wrote: >
> 
>>There are also a number of Spanish portraits that
>>show bound slashes.  The 
>>
>>>one that comes to mind is a woman with the Spanish
>>
>>round sleeves so slashed 
>>
>>>that it was just a series of giant loopy things.  I
>>
>>think they were red 
>>
>>>bound in a gold coloured fabric of the same type as
>>
>>the gown...
>>
>>I thought she meant slashed, as in cut, rather than
>>paned, which often have
>>finished edges.  The cut-edged slashed items don't
>>usually have binding
>>around the edges, where the paned ones often do.
>>
>>       CarolynKayta Barrows
>>dollmaker, fibre artist, textillian
>>         www.FunStuft.com
>>
>>             //// \\\
>>            ////-@@\\\
>>           ((((   7 )))
>>            (((  <> ))))
>>               )   ((((((
>>          /----\   /---\))
>>

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Date: Thu, 20 May 2004 12:20:46 -0400
Subject: Re: [h-cost] Re: colonial house
From: ruthanne baumgartner <ruthanneb@mindspring.com>
To: Historical Costume <h-costume@indra.com>
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Can't speak to this, but burning at the stake wasn't big in the New England
colonies--hanging was much more popular. Here in the Fairfield area of
Connecticut we hanged a couple of witches in the mid 1600s; as for sexual
deviance, a little farther north a man was hanged with an interesting
variety of farm animals for fornication (the animals being the fornicatees,
but evidently the fact that they had had no choice didn't save them from the
noose).
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

Clothing content: after Goody Knapp was hanged, several of the women of
Fairfield stripped her clothes off so that they could be shown the "witch
marks" on her. One woman got in BIG trouble for protesting that she saw
nothing she herself didn't also have....


on 5/20/04 11:19 AM, Katie Pleasance at Katie@katiesorchids.com wrote:

> As I remember, homosexuality was a burning-at-the-stake offense in those days.
> 
> Katie
> 
> 
>> I actually thought this about the whole homosexual issue.  For pete's
>> sake,
>> can we have just one show anymore where we aren't tripping over
>> someone's
>> sexual preference?
> 
> 
> 
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Is anyone besides me getting a twisted giggle out of the idea of a 
*Baptist* minister portraying a Puritan? Or is that too obscure a 
historical bit? <g>
As far as dissenters go, at least some of the "persona histories" on the 
website are clear that they're not there for religious reasons, but for 
financial gain, etc, etc.  Can't remember if this was also the storyline 
given for the Voorhees family, but I know it was for some of the others.
Historically, certainly there were some who came for religious reasons, 
but not most of them, despite cultural misconceptions about same in US 
culture.
--sue

Susan Carroll-Clark wrote:

> Greetings--
> 
> 
>>With all due respect, even back in 1628, just because people had been
> 
> raised
> 
>>in a Puritan society did not necessarily mean that all persons living in
> 
> that
> 
>>community held the same convictions -that's what the stocks were for  -
> 
> It's
> 
>>also one of the reasons the other colonies were formed.
> 
> 
> Yes, but the chances she would have gotten on a boat with a lot of Puritans
> to escape religious persecution would have been slight.
> 
> Susan
> 
> _______________________________________________
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <5.2.1.1.2.20040520103258.01c0fe58@postoffice8.mail.cornell.edu>
Subject: Re: [h-cost] Laundry/ Colonial series
Date: Thu, 20 May 2004 12:39:14 -0400
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This is the sort of description I was expecting. My camping experiences have
been only in the modern world...albeit at a 'primitive camp site' for about
10 weeks. The 'bigwash' we did weekly in town, but the 'smalls' were done on
site in the way you have described.
When I first started collecting (and reading!) Godey's, and Peterson's I was
surprised that even in the 19th C that someone had the forethought to
explain 'how to wash smalls', and those directions are still as it seems to
have been done in the 17th C.
Kathleen
----- Original Message ----- 
From: "M Stewart" <ms154@cornell.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 10:49 AM
Subject: [h-cost] Laundry/ Colonial series


>
> Hey there...  Laundry...  a topic that I know a good deal about,  both
> historical and modern.
>
> OK... at Pennsic  I do laundry.
>
> Chemises, partlets, coifs, the occaisional petticoat hem.  I have made my
> own soap of oak ashes and pork fat,  not a chore I plan to do with any
> regularity.  When I wash I usually am doing small items,  so one bucket of
> a fairly strong soap solution in water (I don't use the ground water - too
> much iron) is where I start,  soak the items for the morning.
>
> Then using a board and a beater I place the garments on the board and
force
> the soapy water out... and dunk, and force more soapy water through it...
> repeat.  Rinse (sometimes yes, sometimes no)  Then wring.
>
> If I need a laundry line I usually have one along one edge of our long
> communal tent.  But I prefer to lay things out on the fields to air and
> bleach.  Gotta walk a long way from the roads (dust) and make sure the
> field isn't scheduled for anything else that day...  (feet, arrows... )
Try
> to place the cleaned items out about 11am   and let them go until about 3
> or 4 pm...  Turning once...  and that's it.
>
> Bridgette
>
>
> >It has occurred to me that in this remote colony that the washing of
> >clothes would not have been a 'cottage chore'. That is, that the laundry
> >would have been taken to the water and not vis a vis. And without a
> >cooper, where would they have come by a tub.  I suspect that cordage
would
> >not be plentiful enough to allow for a clothes line. And what of the soap
> >problem?
> >As for the disheveled troop and the other problems of care for their
> >costumes, they seem to be operating on the same premise as contemporary
> >folk," we can always get it new at the store".
> >For you who do encampments for extended time, like Pensic, do you deal
> >with laundry or rather take all you will need for the time away?
> >Kathleen
>
> _______________________________________________
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Subject: Re: [h-cost] Laundry/ Colonial series
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As still is done in some other cultures today.
Kathleen
----- Original Message ----- 
From: "Bice" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 10:57 AM
Subject: Re: [h-cost] Laundry/ Colonial series


> For camping at places like Pennsic thank goodness there are washers and
> dryers. But if all else fails don't underestimate the power of beating
> clothes on rocks.
>
>
> =============================
> http://kristalori.com or http://swapking.com/hats/
> http://www.livejournal.com/users/jaie
> =============================
> ----- Original Message ----- 
> From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
> To: "H-Costume" <h-costume@indra.com>
> Sent: Thursday, May 20, 2004 10:35 AM
> Subject: [h-cost] Laundry/ Colonial series
>
>
> It has occurred to me that in this remote colony that the washing of
clothes
> would not have been a 'cottage chore'. That is, that the laundry would
have
> been taken to the water and not vis a vis. And without a cooper, where
would
> they have come by a tub.  I suspect that cordage would not be plentiful
> enough to allow for a clothes line. And what of the soap problem?
> As for the disheveled troop and the other problems of care for their
> costumes, they seem to be operating on the same premise as contemporary
> folk," we can always get it new at the store".
> For you who do encampments for extended time, like Pensic, do you deal
with
> laundry or rather take all you will need for the time away?
> Kathleen
> _______________________________________________
> 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] Finishing slashed material- paned vs slashed
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Really?? Not trying to be a smarty pants...truly!

I didn't see that and I've seen 2 of the portraits--the one in the
Detroit Museum of Art and the one at the Wallace. Granted, the one at
the Wallace is 7' up on the wall...but I was able to get within inches
of the one in Detroit. They still look like paned sleeves to me.

What, to your eye, makes it obvious that they're slashes?

Curiously,

kate

----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 12:18 PM
Subject: Re: [h-cost] Finishing slashed material- paned vs slashed


> What she said! <g>
> I always figured that the Bronzino of Eleanor of Toledo (the one
with
> the black/gold/white dress) showed her with paned sleeves (i.e.,
sleeves
> made of several separate strips of fabric), but seeing one of the
real
> portraits, it's obvious that the sleeve openings are slashes, and
the
> edges are finished with a braid.
> --sue
>
> Catalina Saravia Quicedo wrote:
> > The paned sleeves, rather than slashed, appear to be
> > rather common in Spanish garments. But they are not
> > exclusively paned. A lot of these portraits you have
> > to see something larger than an online version to see
> > the difference.
> >
> > Catalina
> >
> >  --- Carolyn Kayta Barrows <kayta@frys.com> wrote: >
> >
> >>There are also a number of Spanish portraits that
> >>show bound slashes.  The
> >>
> >>>one that comes to mind is a woman with the Spanish
> >>
> >>round sleeves so slashed
> >>
> >>>that it was just a series of giant loopy things.  I
> >>
> >>think they were red
> >>
> >>>bound in a gold coloured fabric of the same type as
> >>
> >>the gown...
> >>
> >>I thought she meant slashed, as in cut, rather than
> >>paned, which often have
> >>finished edges.  The cut-edged slashed items don't
> >>usually have binding
> >>around the edges, where the paned ones often do.
> >>
> >>       CarolynKayta Barrows
> >>dollmaker, fibre artist, textillian
> >>         www.FunStuft.com
> >>
> >>             //// \\\
> >>            ////-@@\\\
> >>           ((((   7 )))
> >>            (((  <> ))))
> >>               )   ((((((
> >>          /----\   /---\))
> >>
>
> _______________________________________________
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> For you who do encampments for extended time, like Pensic, do you deal
with laundry or rather take all you will need for the time away?

Well, I DO deal with laundry... but not in a medieval way... I take it to a
local laundromat :-) But even if I wanted to wash, I'd be afraid of my
clothes turning orange, there's so much iron in the water at Pennsic! (I
know some people have washed with no trouble, but...)

I do recycle overtunics several times, and use multiple layers, and usually
sleep in my undertunics, though.
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This portrait I'm thinking of isn't paned.  It is huge deep slashes in the sleeves since they are clearly connected along the open edge of the sleeve.

Here I found a copy of it on-line:
http://ladysarafina.home.att.net/lizdevalois2.JPG

Cheers,
Danielle


>>There are also a number of Spanish portraits that show bound slashes.  The 
>>one that comes to mind is a woman with the Spanish round sleeves so slashed 
>>that it was just a series of giant loopy things.  I think they were red 
>>bound in a gold coloured fabric of the same type as the gown...
>
>I thought she meant slashed, as in cut, rather than paned, which often have
>finished edges.  The cut-edged slashed items don't usually have binding
>around the edges, where the paned ones often do.
>
>       CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>         www.FunStuft.com
>
>             //// \\\
>            ////-@@\\\
>           ((((   7 )))
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Need a new email address that people can remember
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Subject: Laundry was: Re: [h-cost] Laundry/ Colonial series
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> I have made my
> own soap of oak ashes and pork fat,  not a chore I plan to do with any
> regularity.

That's a bit off-topic for this list, but I thought you weren't supposed to
use pork fat for soap? I don't remember why, though.... Or did I just get
confused with the instructions for tallow candles, because the fat'll go
rancid?
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Subject: RE: [h-cost] Re: colonial house
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No matter what the reason was you came over, colonial plantations were
private "corporation" funded for the most part. There was always the hope
that some colonists somewhere would actually strike gold, but barring that,
the colonists were under pressure to repay the plantations investors with
raw goods--cod, wood and beaver pelts were in big demand in England and
Europe at first.  This is why colonists who had paid their way over and
actually were shareholders were sometimes torn between the survival of the
colonists and repaying the shareholders. We can kind of equate it with the
stockmarkets of today--shareholders are not only happy when demand for the
goods or services the companies they invest in increase, but also when said
companies also find ways to reduce the workforce that produce those goods
and services while maintaining or increasing productivity.  We have to
remember that colonial plantations were a high-cost, high risk venture for
both shareholders and the colonists, especially when the colonists weren't
permitted to turn those raw goods into finished products to ship back to
England even when they did have the means. The advantage always lay with the
companies or government that financed the colonies and wrote the rulebook
until the eventual inevitable happened: revolution, rebellion or just the
plain cost of financing and enforcing one's hold on the colonial plantations
wasn't profitable anymore.

Cindy Abel



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Betsy Marshall
Sent: Thursday, May 20, 2004 10:20 AM
To: 'Historical Costume'
Subject: RE: [h-cost] Re: colonial house


With all the commentary about "Paying back their investors" I didn't
think religious persecution was their main reason for being there..

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Susan Carroll-Clark
Sent: Thursday, May 20, 2004 9:52 AM
To: Historical Costume
Subject: Re: [h-cost] Re: colonial house

Greetings--

> With all due respect, even back in 1628, just because people had been
raised
> in a Puritan society did not necessarily mean that all persons living
in
that
> community held the same convictions -that's what the stocks were for
-
It's
> also one of the reasons the other colonies were formed.

Yes, but the chances she would have gotten on a boat with a lot of
Puritans
to escape religious persecution would have been slight.

Susan

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Subject: Re: [h-cost] Finishing slashed material
From: "Diana Habra" <dch@inreach.com>
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>>Besides couching by hand, or using the sewing machine to finish, what are
>>some different ways to finish slashed material (the holes the chemise
>> gets
>>pulled through) for a Tudor doublet?  What's the best way?
>
> Cut them on the bias and don't finish them at all.  The will frizz a
> little, but I had the chance to look at a Bronzino painting in the
> Metropolitan Museum, with slashed fabric, and under the guy's arm, where
> you could get a side vies of the slashed, they had frizzed!  Don't finish
> the edges - Bronzino says so.  Janet Arnold agrees, according to some of
> the illustrations in the Patterns of Fashion Ren. volume.

I agree with this wholeheartedly!!

As long as your fabric is tightly woven or felted, you will get very
little fraying if you place the slashes on the bias.

However, if you REALLY want to finish the edges, I suggest "Fray Block". 
It is like Fray Check but you almost can't tell it is there after it
dries.  It doesn't leave a residue and it is not stiff like Fray Check.

I have heard people say that something like this was used in the
Renaissance that maybe was made with fish oil and/or wax or something like
that.  So if they used a sealant back then, why can't we use one now?

Good luck!

Diana

-- 
Diana Habra
www.renaissancefabrics.net
"Everything for the Costumer"
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Date: Thu, 20 May 2004 13:08:27 -0400
Subject: Re: [h-cost] Re: Colonial House series
From: ruthanne baumgartner <ruthanneb@mindspring.com>
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There may also be some fundamental stupidity in the mix.
   Several years ago I was in a community-theater production of Playboy of
the Western World. The volunteer first-time costumes mistress didn't show up
at production meetings or rehearsals until the rehearsal immediately before
the scheduled DRESS rehearsal; by that time the cast had pretty much
scrounged costumes for themselves. When she did appear she told us we had
the costumes all wrong: "These people are supposed to be POOR! Your costumes
should be ragged and dirty and wrinkled!"
   That might have been the same thing going on in a production of Dancing
at Lughnasa I saw--all the women's costumes were grubby and wrinkled, in
spite of the fact that one character IRONS CLOTHES for almost the whole
first act. 
   Why anyone would make the assumption that people without money choose to
wallow around in unmended and unwashed garments I can't say, except that it
fits in with a lot of other ignorant assumptions about people without money.
In my own experience--or is it "in my day"? ;} --the less money the more
effort to look presentable and proper....
   Anyway. I got in a big fight with the Playboy costumer (and won! good for
me!). 
   But I wonder if the Colonial House residents aren't assuming that since
these colonists were not upper-class their clothes, too, "should be ragged
and dirty and wrinkled."

Just a thought--

Ruth Anne Baumgartner
scholar gypsy and amateur costumer (AND I launder, mend, and iron)

> In a message dated 5/20/04 8:44:09 AM Central Daylight Time,
> ivyharpdotcom@yahoo.com writes:
> Is this just a modern interpretation that's totally
> off-base, or does anyone else think there might be
> something in the idea?
> 
> -Angela
> 
> 
> ROFL!  I think you made *excellent* points.  There was a GREAT deal of pride
> in the colonists, and a huge amount of conviction.  To imagine (as some of the
> cast on the show seems to) that they were a bunch of slackers who came over
> here so they could sit around in their underoos and pretend society didn't
> have 
> any rules, is just absurd.
> 
> I don't know how you get that across to anyone, though.  There's so little
> that is actually considered taboo anymore in our modern society, other than
> actually having a negative opinion (otherwise known as the dreaded "judging")
> about anyone else's behavior.
> 
> -Tiffany
> Non vestimentum virum ornat, sed vir vestimentum.
> *******************************
> Reflections*of*Worth
> http://stores.ebay.com/Reflections-of-Worth
> _______________________________________________
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Katie wrote:
2. There are two drawstrings tied with bows in front of the clavicles rather than a single bow at center front.

I wrote: Since there are two of them, it suggests to me that it *could* be for nursing. That is just the right spot to allow the chemise to drop without having the whole neckline come apart.

3. That the chemise is so exposed.

I wrote: Not uncommon during this period. Look at these ones, the exposure in question is relative:

http://realmofvenus.renaissancewoman.net/wardrobe/CARIANISeduction.JPG
http://realmofvenus.renaissancewoman.net/wardrobe/LadyInGreen.JPG
http://realmofvenus.renaissancewoman.net/wardrobe/VenetianLovers.JPG

I do think that there *could* be some representation going on in these as well, although purely speculative on my part. Two out of three of these paintings are entitled something romantic or related topics. The Lady in Green seems staged to me, in that her bodice was intentionally opened, very possibly the same for the dress being discussed. Her hand lays across the opening, suggesting she might be holding it closed. What it is trying to tell us, your guess is as good as mine. I just see a possible reoccuring theme.


Now, regarding the drawstrings:
If you click on the picture enough times you get a *very* enlarged image 
that shows much detail. Look at the bow on the right side of the picture. 
Look at the left-hand aiglette. Follow that cord back to the bow. Where the 
cord intersects the bow is a section of cord jutting to the left and 
disappearing into the casing. The casing opening is even rounded where the 
round cord enters the casing. To me this is evidence of a casing with a 
cord coming out of the casing and the cord (drawstring) being tied in a 
bow. The cord is a round cord as would be used as a drawstring. The bow 
looks functional rather than decorative.

I wrote: You have a point, but I'll follow my asserted theory here for a moment. The majority of the neckline is set gathers, but to allow full freedom of movement, the centre front section is cased with a functional cord. This could account for it appearing to disappear on one side, yet not on the other. Most fully fuctional drawstrings would sag open more than this one, and it is in an area of high movement and therefore stress, the opening would tend to want to sag back from the bow, yet this one isn't, telling me that something is anchored into place.  Since the fabric meets under the bow rather than showing a bit of skin, I would also suggest there is a hook and eye or other such closure holding the seams together. I'm not even totally convinced of this at this point, since the fabric would want to slide in toward the lowest point in the centre of the cord, yet the gathering remains consistent from left to right. Grant you, the sitter will not move much, and the artist !
 likely
 placed every pleat and gather ideally, rather than creating an exact image of reality.

The drawstring is round -- definitely not a flat ribbon. The pleats are a 
decorative edge trimming the neckline. The pleats attach to the body of the 
chemise at the top of the casing.

I agree with you on all these points. That would be the only way to keep the gathers at the neckline consistent.

Kathy




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In a message dated 5/20/2004 7:52:16 AM Pacific Daylight Time, 
nicolaa@rogers.com writes:

<< reetings--
 
 > With all due respect, even back in 1628, just because people had been
 raised
 > in a Puritan society did not necessarily mean that all persons living in
 that
 > community held the same convictions -that's what the stocks were for  -
 It's
 > also one of the reasons the other colonies were formed.
 
 Yes, but the chances she would have gotten on a boat with a lot of Puritans
 to escape religious persecution would have been slight.
 
 Susan >>
 
Slight, maybe, but the chance still would have been there and many people who 
"got on a boat to escape religious persecution"  found the persecution just 
as bad or worse after they got here - otherwise, we'd be Puritans today.  And 
not everyone who came over at that time was a Puritan - many were, yes, but not 
necessarily all, so no one - no matter how good his or her research is - can 
say for sure what every single person of that time period was thinking.  

Jane
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Date: Thu, 20 May 2004 11:00:52 -0700 (PDT)
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Betsy Marshall wrote:
 
> With all the commentary about "Paying back their
> investors" I didn't
> think religious persecution was their main reason
> for being there..

I also got that impression. Admittedly, I'm dredging
this from way deep in that filing cabinet between my
ears, but I seem to remember that many of the colonies
established in the New England area were established
by groups interested in pursuing religious beliefs
different than the one proposed by the CofE (Plymouth,
Salem), while many of the ones in the more temperate
mid-Atlantic were interested in economic goals
(Jamestown). There are, of course, exceptions to every
rule: Rhode Island was started by people interested in
pursuing religious beliefs different from those of the
Mass. colony, while Delaware (IIRC) allowed Catholics
to worship openly, and James Oglethorpe was
instrumental in establishing Georgia as a haven for
those escaping debtors' prisons.

Having seen the first 2 hours (and being so disgusted
I threw the tape with the 2nd 2 hours down the
stairs), I take back any nice things I said about the
guys from the UK; they don't appear to have any more
clue about this than the Americans involved. I've also
fired off a rather "terse" (read: nasty) e-mail to the
producer that this is nothing more than Survivor in
funny clothes, and perhaps she should consider reading
the comments on different reenactment-related lists
before attempting a third series of this type. If you
wish to give her the benefit of your recommendations,
there is an e-mail link through the series Web page at
PBS's Web site. Perhaps, with enough people grousing,
she might get a clue...or am I being optomistic?

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Drawstring chemise
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On Thu, 20 May 2004, Katie Pleasance wrote:

> If you click on the picture enough times you get a *very* enlarged
> image that shows much detail. Look at the bow on the right side of the
> picture.  Look at the left-hand aiglette. Follow that cord back to the
> bow. Where the cord intersects the bow is a section of cord jutting to
> the left and disappearing into the casing. The casing opening is even
> rounded where the round cord enters the casing. To me this is evidence
> of a casing with a cord coming out of the casing and the cord
> (drawstring) being tied in a bow. The cord is a round cord as would be
> used as a drawstring. The bow looks functional rather than decorative.

This isn't my period, but I've learned to look for multiple possibilities,
and I'm pretty suspicious of drawstrings at this date.

I do agree that the bow is functional. And it's also clear that the
chemise edge breaks at the point of the bow, so it's discontinuous there.  
But it's also worth noting that the aiglettes would never pass through the
tiny channel that runs along the top edge of the chemise, below the
ruffled bit. 

It's possible that it's a drawstring that was put in first, with the
aiglettes added later. But I also wonder if the bow is made of a cord of
about five or six inches long, passed through an eyelet on each side of
the break at neck edge. Such fastenings (IIRC) appear on Elizabethan
shirts, or so I remember reading on this list.

It's also worth noting that the bows are placed perfectly for nursing
openings, meaning we might be looking at a means of closing slits that run
vertically down from the bow points. The fullness of the chemise would
keep the slits from opening up in the space between dress and neckline.

Not a proof, just another point to consider.

> The pleats are a decorative edge trimming the neckline. The pleats
> attach to the body of the chemise at the top of the casing.

Why do you think that? I would think that such an attachment would add
quite a bit of bulk in the seam, which I'm not seeing. The ruffled bit
could just as easily be the top part of the chemise fabric whether you're
assuming a casing or not, particularly if the casing is made by putting a
ribbon along the back of the fabric and stitching top and bottom to form a
channel. But I think it still looks more like two lines of stitching
holding the chemise pleats in place.

Remember also that the artist would paint his impression of the look,
meaning we probably won't see individual stitches if they are very small.
It also means he may not have had the remotest idea of how the bow was
fastened in, but only painted what he saw -- the bow interrupting the line
of the chemise top and disappearing into the chemise fabric at each side.

--Robin


> 
> As always, my opinion.
> 
> Katie
> 
> At 10:17 PM 5/19/2004 +0000, you wrote:
> >Interesting.  To me that reads clearly as stitched down gathers/pleats and 
> >tied at the openings with black ribbons.  It is clear that the black 
> >ribbon doesn't go through a casing and there are no apparent white ribbons 
> >or ties that would suggest gathered drawstrings to me.  Just my take on it.
> >Danielle
> 
> 
> >  http://www.kfki.hu/~arthp/postcard.cgi?code=628748&lang=0&action=read
> 
> 
> 
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> 


==========================================================
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 Well, James I didn't just want to drive Puritans either into conformity
with the Anglican Church or out of the country--it was anyone who didn't
conform to the AC.

I thought it was pretty good of the governor's daughter(the one that lost
her fiance in real life)seemed to make more of an effort to dress neatly,
unlike the lay preacher's wife who always had the straps of her stays
hanging every which way.

And am I the only one who thinks the coifs of the females in Colonial House
not adequate to properly cover their hair(this of course, I observed right
off the bat after comparing CH to the much more authentic female headgear in
Girl With a Pearl Earring on my DVD)?

Also were the members of Colonial House alloted the same wardrobe as those
listed in the original provisioning inventories?

Also I've been reading the book "Island at the Center of the World" about
the settling of New Amsterdam(later New York) There is a brief mention that
most of the English religious dissenters who settled in Leyden, Holland
remained there(very interesting!)--did a few migrate to New Amsterdam later.
This is contrary to U.S. history that infers that most of the Leyden group
came to America.

Would make an interesting history--those that stayed behind in Holland. What
became of them and what did they contribute?

Cindy Abel

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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] Re: colonial house
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Massachusets was founded by Puritans. Pennsylvania was founded by a Quaker, 
Maryland was founded by a Catholic lord escaping Protestant persecution of 
the Catholics. Virginia was founded by investors and populated to a great 
degree with convict transportees. Rhode Island was (I believe) founded by 
Unitarians.

Each colony had a personality very different from every other colony. So, 
the question is -- *which* personality is the show purportedly 
representing? Jamestown was ***very*** different from Boston!

Katie

>  > did not necessarily mean that all persons living in
>  that
>  > community held the same convictions - that's what the stocks were for  -
>  It's
>  > also one of the reasons the other colonies were formed.
>


>  Yes, but the chances she would have gotten on a boat with a lot of Puritans
>  to escape religious persecution would have been slight.
>  Susan >>



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From: Kitty Felton <basyefelton@floodcity.net>
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there were two types of colonies, if I remember right.   the Plymouth
rock colonists paid their own way, I believe.  it was subsistance living
but they didn't owe anyone a return.  they went to the new world to
escape persecution, and as far as I can remember, they or their friends
paid their way. maybe they owed their friends a return, but I don't
remember hearing anything about that.   I guess a search for the
documents would help clear that up.  
	  the Jamestown colonists were subsidized by a company and expected
support (as well as owing a return), which is what made the abandonment
of the first colony such a tragedy.  but the people who made up that
colony were supposed to be able to put so many pounds of trade goods on
the ship to take back to England, so that they expected to be able to
get rich as well, I think. anyway, that's the impression I got from the
fact that so many (single men?) left their building and planting needs
to chance while they searched for gold.   
	anyway, my two cents worth, Kitty

Betsy Marshall wrote:
> 
> With all the commentary about "Paying back their investors" I didn't
> think religious persecution was their main reason for being there..
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Susan Carroll-Clark
> Sent: Thursday, May 20, 2004 9:52 AM
> To: Historical Costume
> Subject: Re: [h-cost] Re: colonial house
> 
> Greetings--
> 
> > With all due respect, even back in 1628, just because people had been
> raised
> > in a Puritan society did not necessarily mean that all persons living
> in
> that
> > community held the same convictions -that's what the stocks were for
> -
> It's
> > also one of the reasons the other colonies were formed.
> 
> Yes, but the chances she would have gotten on a boat with a lot of
> Puritans
> to escape religious persecution would have been slight.
> 
> Susan
> 
> _______________________________________________
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That was done not because of guilt on the animals part but because the
animals were now tainted and no longer desirable as a food or work source.
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 


> Can't speak to this, but burning at the stake wasn't big in the New
England
> colonies--hanging was much more popular. Here in the Fairfield area of
> Connecticut we hanged a couple of witches in the mid 1600s; as for sexual
> deviance, a little farther north a man was hanged with an interesting
> variety of farm animals for fornication (the animals being the
fornicatees,
> but evidently the fact that they had had no choice didn't save them from
the
> noose).
> --Ruth Anne Baumgartner
> scholar gypsy and amateur costumer
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From: "Irmgart H" <laura@wisterian.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Drawstring chemise
Date: Thu, 20 May 2004 14:53:51 -0400
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It is *very* difficult to see in this image, but an image in a book I've
looked at there seems to be *another* bow on her right shoulder in the back
(look to the left of her necklace, there is a dark spot, in the picture in
the book it looks very much like another bow). Why would this 3rd bow be
there (and presumably a 4th on her left shoulder as well)?

-Irmgart (who was going to stay out of this but can't stand it anymore)

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Robin Netherton
> Sent: Thursday, May 20, 2004 2:16 PM
> To: Historical Costume
> Subject: Re: [h-cost] Drawstring chemise
>
>
>
> On Thu, 20 May 2004, Katie Pleasance wrote:
>
> > If you click on the picture enough times you get a *very* enlarged
> > image that shows much detail. Look at the bow on the right side of the
> > picture.  Look at the left-hand aiglette. Follow that cord back to the
> > bow. Where the cord intersects the bow is a section of cord jutting to
> > the left and disappearing into the casing. The casing opening is even
> > rounded where the round cord enters the casing. To me this is evidence
> > of a casing with a cord coming out of the casing and the cord
> > (drawstring) being tied in a bow. The cord is a round cord as would be
> > used as a drawstring. The bow looks functional rather than decorative.
>
> This isn't my period, but I've learned to look for multiple possibilities,
> and I'm pretty suspicious of drawstrings at this date.
>
> I do agree that the bow is functional. And it's also clear that the
> chemise edge breaks at the point of the bow, so it's
> discontinuous there.
> But it's also worth noting that the aiglettes would never pass through the
> tiny channel that runs along the top edge of the chemise, below the
> ruffled bit.
>
> It's possible that it's a drawstring that was put in first, with the
> aiglettes added later. But I also wonder if the bow is made of a cord of
> about five or six inches long, passed through an eyelet on each side of
> the break at neck edge. Such fastenings (IIRC) appear on Elizabethan
> shirts, or so I remember reading on this list.
>
> It's also worth noting that the bows are placed perfectly for nursing
> openings, meaning we might be looking at a means of closing slits that run
> vertically down from the bow points. The fullness of the chemise would
> keep the slits from opening up in the space between dress and neckline.
>
> Not a proof, just another point to consider.
>
> > The pleats are a decorative edge trimming the neckline. The pleats
> > attach to the body of the chemise at the top of the casing.
>
> Why do you think that? I would think that such an attachment would add
> quite a bit of bulk in the seam, which I'm not seeing. The ruffled bit
> could just as easily be the top part of the chemise fabric whether you're
> assuming a casing or not, particularly if the casing is made by putting a
> ribbon along the back of the fabric and stitching top and bottom to form a
> channel. But I think it still looks more like two lines of stitching
> holding the chemise pleats in place.
>
> Remember also that the artist would paint his impression of the look,
> meaning we probably won't see individual stitches if they are very small.
> It also means he may not have had the remotest idea of how the bow was
> fastened in, but only painted what he saw -- the bow interrupting the line
> of the chemise top and disappearing into the chemise fabric at each side.
>
> --Robin
>
>
> >
> > As always, my opinion.
> >
> > Katie
> >
> > At 10:17 PM 5/19/2004 +0000, you wrote:
> > >Interesting.  To me that reads clearly as stitched down
> gathers/pleats and
> > >tied at the openings with black ribbons.  It is clear that the black
> > >ribbon doesn't go through a casing and there are no apparent
> white ribbons
> > >or ties that would suggest gathered drawstrings to me.  Just
> my take on it.
> > >Danielle
> >
> >
> > >  http://www.kfki.hu/~arthp/postcard.cgi?code=628748&lang=0&action=read
> >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> ==========================================================
> Robin Netherton // Editor at Large
> robin@nightowl.net
> voice: (314) 439-1222 // fax: (314) 439-1333
> Life is just a bowl of queries.
>
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>

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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] Re: colonial house
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It has been my understanding that the Pilgrims (Plimouth) and Puritans
(Boston) were not quite the same thing.  Pilgrims were looking for religious
freedom and Puritans ('Round heads'?) were part of a status quo who were
politically approved and financially connected to Colonization.
Kathleen---- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 12:31 PM
Subject: Re: [h-cost] Re: colonial house


> Is anyone besides me getting a twisted giggle out of the idea of a
> *Baptist* minister portraying a Puritan? Or is that too obscure a
> historical bit? <g>
> As far as dissenters go, at least some of the "persona histories" on the
> website are clear that they're not there for religious reasons, but for
> financial gain, etc, etc.  Can't remember if this was also the storyline
> given for the Voorhees family, but I know it was for some of the others.
> Historically, certainly there were some who came for religious reasons,
> but not most of them, despite cultural misconceptions about same in US
> culture.
> --sue
>
> Susan Carroll-Clark wrote:
>
> > Greetings--
> >
> >
> >>With all due respect, even back in 1628, just because people had been
> >
> > raised
> >
> >>in a Puritan society did not necessarily mean that all persons living in
> >
> > that
> >
> >>community held the same convictions -that's what the stocks were for  -
> >
> > It's
> >
> >>also one of the reasons the other colonies were formed.
> >
> >
> > Yes, but the chances she would have gotten on a boat with a lot of
Puritans
> > to escape religious persecution would have been slight.
> >
> > Susan
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: Colonial House series
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It was called (in th UK at least) "Surviving the Iron Age".  It was 
quite short I think, maybe just a week, compared to the other series.

Jean


Helen  Pinto <hpinto@mindspring.com> wrote
>Several people on the list have mentioned an Iron Age show; I don't remember
>it showing in tthe NYC or Pittsburgh markets.  I searched the PBS website
>for it and haven't found a hit yet.
>Does anyone have the actual name of the program?  It might help me find info
>on it.
>Thanks,
>\               -Helen/Aidan
>
>
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-- 
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I feel like I should point out that most of the complaints and criticisms 
that people have had about the show have been discussed and explained IN the 
context of the program, including when people have acted inapproprately and 
why it was innappropriate to the experiment, and how it was handled and why.

I don't expect people who haven't actually been watching the show to see 
this, but I'm at a loss to understand why people who HAVE been watching the 
shows have missed these details.

Marc

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> For you who do encampments for extended time, like Pensic, do you deal with laundry or rather take all you will need for the time away?

It varies. I have been known to handwash with anti-bacterial soap on 
extended trips when required, and hang dry if available. I once had a 4 
day weekend turn into a 14-day weekend and I discovered that most hotel 
staff will gladly put your wet jeans in their valet dryers after you 
wash them in the tub. :)

At Pennsic I take enough under layers and aprons to be able to change 
when necessary to keep myself presentable. I also take at least one trip 
off site to visit relatives, wash bedding, and have a hot shower and hot 
meal. If I didn't have relatives I would consider doing the washing if I 
had a suitable location. The campground is so crowded it's either a long 
walk or a soggy mess in the middle of camp these days.

As a teen I did real camping in the region that the colonial show is 
being filmed in, and we rinsed stuff in the creek and hung it on the 
bushes if we had to.


Dawn



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Subject: RE: [h-cost] Drawstring chemise
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     This isn't my period, but to me the chemise looks a bit sheer in a
few places, and other places it looks opaque white.  If it's sheer, a
black drawstring would show through the gathers. But they're as white
as the rest of the chemise.  It could be artistic "clean up", but to
me it points toward them being ties and not drawstrings.

     -Carol
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Subject: Re: [h-cost] Drawstring chemise
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I noticed the bow also (it being so black against the white), but couldn't
think of a reason. IF it was a drawstring, then PERHAPS the drawstrings are
only on the sleeve pieces, rather than our modern use of one drawstring for
the entire neckline. I have made myself longish, very simple, raglan-sleeved
chemises for modern nightgowns, and I find that with one drawstring, the
gathering tends to all move to the front and back, gravity being what it is,
and I have to adjust it often. Gathering/pleating in the front and back and
drawstrings on the sides would solve that problem nicely. I'm only guessing
and throwing ideas out. I haven't researched this time period at all.

LynnD


On 5/20/04 11:53 AM, "Irmgart H" <laura@wisterian.net> wrote:

> It is *very* difficult to see in this image, but an image in a book I've
> looked at there seems to be *another* bow on her right shoulder in the back
> (look to the left of her necklace, there is a dark spot, in the picture in
> the book it looks very much like another bow). Why would this 3rd bow be
> there (and presumably a 4th on her left shoulder as well)?
> 
> -Irmgart (who was going to stay out of this but can't stand it anymore)
> 
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
>> Behalf Of Robin Netherton
>> Sent: Thursday, May 20, 2004 2:16 PM
>> To: Historical Costume
>> Subject: Re: [h-cost] Drawstring chemise
>> 
>> 
>> 
>> On Thu, 20 May 2004, Katie Pleasance wrote:
>> 
>>> If you click on the picture enough times you get a *very* enlarged
>>> image that shows much detail. Look at the bow on the right side of the
>>> picture.  Look at the left-hand aiglette. Follow that cord back to the
>>> bow. Where the cord intersects the bow is a section of cord jutting to
>>> the left and disappearing into the casing. The casing opening is even
>>> rounded where the round cord enters the casing. To me this is evidence
>>> of a casing with a cord coming out of the casing and the cord
>>> (drawstring) being tied in a bow. The cord is a round cord as would be
>>> used as a drawstring. The bow looks functional rather than decorative.
>> 
>> This isn't my period, but I've learned to look for multiple possibilities,
>> and I'm pretty suspicious of drawstrings at this date.
>> 
>> I do agree that the bow is functional. And it's also clear that the
>> chemise edge breaks at the point of the bow, so it's
>> discontinuous there.
>> But it's also worth noting that the aiglettes would never pass through the
>> tiny channel that runs along the top edge of the chemise, below the
>> ruffled bit.
>> 
>> It's possible that it's a drawstring that was put in first, with the
>> aiglettes added later. But I also wonder if the bow is made of a cord of
>> about five or six inches long, passed through an eyelet on each side of
>> the break at neck edge. Such fastenings (IIRC) appear on Elizabethan
>> shirts, or so I remember reading on this list.
>> 
>> It's also worth noting that the bows are placed perfectly for nursing
>> openings, meaning we might be looking at a means of closing slits that run
>> vertically down from the bow points. The fullness of the chemise would
>> keep the slits from opening up in the space between dress and neckline.
>> 
>> Not a proof, just another point to consider.
>> 
>>> The pleats are a decorative edge trimming the neckline. The pleats
>>> attach to the body of the chemise at the top of the casing.
>> 
>> Why do you think that? I would think that such an attachment would add
>> quite a bit of bulk in the seam, which I'm not seeing. The ruffled bit
>> could just as easily be the top part of the chemise fabric whether you're
>> assuming a casing or not, particularly if the casing is made by putting a
>> ribbon along the back of the fabric and stitching top and bottom to form a
>> channel. But I think it still looks more like two lines of stitching
>> holding the chemise pleats in place.
>> 
>> Remember also that the artist would paint his impression of the look,
>> meaning we probably won't see individual stitches if they are very small.
>> It also means he may not have had the remotest idea of how the bow was
>> fastened in, but only painted what he saw -- the bow interrupting the line
>> of the chemise top and disappearing into the chemise fabric at each side.
>> 
>> --Robin
>> 
>> 
>>> 
>>> As always, my opinion.
>>> 
>>> Katie
>>> 
>>> At 10:17 PM 5/19/2004 +0000, you wrote:
>>>> Interesting.  To me that reads clearly as stitched down
>> gathers/pleats and
>>>> tied at the openings with black ribbons.  It is clear that the black
>>>> ribbon doesn't go through a casing and there are no apparent
>> white ribbons
>>>> or ties that would suggest gathered drawstrings to me.  Just
>> my take on it.
>>>> Danielle
>>> 
>>> 
>>>>  http://www.kfki.hu/~arthp/postcard.cgi?code=628748&lang=0&action=read

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Jane, you're being pedantic. And I think you're completely underestimating
religious fervor at the time. The Puritans weren't so much being persecuted
as they were being drummed out of Europe -- because they were so unyielding,
insistent, and zealous toward everyone else, not just themselves. They came
here to establish the perfect society -- one of LIKE-MINDED people who were
all just as fervid as they were. So yes, while in the cosmic scheme of
things someone MIGHT have become a New England colonist for some other
reason, it doesn't take mind-reading to figure out what was most probable in
reality.

Just because we live in a plural society today, when many different
religious ideas (or lack of such) are socially acceptable, does not mean
that in 1628 the same thing was true. Many ideas that aren't particularly
"out there" today were punishable by death back then, either by courts of
law or by outraged neighbors. That is a difficult concept for people today,
as Colonial House demonstrates.

Gail Finke

> << reetings--
> 
>> With all due respect, even back in 1628, just because people had been
> raised
>> in a Puritan society did not necessarily mean that all persons living in
> that
>> community held the same convictions -that's what the stocks were for  -
> It's
>> also one of the reasons the other colonies were formed.
> 
> Yes, but the chances she would have gotten on a boat with a lot of Puritans
> to escape religious persecution would have been slight.
> 
> Susan >>
> 
> Slight, maybe, but the chance still would have been there and many people who
> "got on a boat to escape religious persecution"  found the persecution just
> as bad or worse after they got here - otherwise, we'd be Puritans today.  And
> not everyone who came over at that time was a Puritan - many were, yes, but
> not 
> necessarily all, so no one - no matter how good his or her research is - can
> say for sure what every single person of that time period was thinking.
> 
> Jane
> 

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Subject: Re: [h-cost] Re: colonial house
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I am remembering one visit to the Plantation at Plimouth when I encountered
a man who had been 'marooned' in the village because the ship he was on
planned to return directly to England instead of going on to the colonies
further west. He was biding his time until he could catch another ship
'going his way'.  While in Plimouth, he was obeying the rules of mandatory
attendance at Meeting although he was RC, and would rather spend the Sabbath
communing with God in nature. And he was paying for his board by thatching
roofs.
Kathleen
----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 2:22 PM
Subject: RE: [h-cost] Re: colonial house


>
>
>  Well, James I didn't just want to drive Puritans either into conformity
> with the Anglican Church or out of the country--it was anyone who didn't
> conform to the AC.
>
> I thought it was pretty good of the governor's daughter(the one that lost
> her fiance in real life)seemed to make more of an effort to dress neatly,
> unlike the lay preacher's wife who always had the straps of her stays
> hanging every which way.
>
> And am I the only one who thinks the coifs of the females in Colonial
House
> not adequate to properly cover their hair(this of course, I observed right
> off the bat after comparing CH to the much more authentic female headgear
in
> Girl With a Pearl Earring on my DVD)?
>
> Also were the members of Colonial House alloted the same wardrobe as those
> listed in the original provisioning inventories?
>
> Also I've been reading the book "Island at the Center of the World" about
> the settling of New Amsterdam(later New York) There is a brief mention
that
> most of the English religious dissenters who settled in Leyden, Holland
> remained there(very interesting!)--did a few migrate to New Amsterdam
later.
> This is contrary to U.S. history that infers that most of the Leyden group
> came to America.
>
> Would make an interesting history--those that stayed behind in Holland.
What
> became of them and what did they contribute?
>
> Cindy Abel
>
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Roger Williams was Free Baptist!
----- Original Message ----- 
From: "Katie Pleasance" <Katie@katiesorchids.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 2:27 PM
Subject: Re: [h-cost] Re: colonial house


> Massachusets was founded by Puritans. Pennsylvania was founded by a
Quaker,
> Maryland was founded by a Catholic lord escaping Protestant persecution of
> the Catholics. Virginia was founded by investors and populated to a great
> degree with convict transportees. Rhode Island was (I believe) founded by
> Unitarians.
>
> Each colony had a personality very different from every other colony. So,
> the question is -- *which* personality is the show purportedly
> representing? Jamestown was ***very*** different from Boston!
>
> Katie
>
> >  > did not necessarily mean that all persons living in
> >  that
> >  > community held the same convictions - that's what the stocks were
or  -
> >  It's
> >  > also one of the reasons the other colonies were formed.
> >
>
>
> >  Yes, but the chances she would have gotten on a boat with a lot of
Puritans
> >  to escape religious persecution would have been slight.
> >  Susan >>
>
>
>
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Finishing slashed material
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I had the chance to look at a Bronzino painting in the
>> Metropolitan Museum, with slashed fabric, and under the guy's arm, where
>> you could get a side vies of the slashed, they had frizzed!  Don't finish
>> the edges - Bronzino says so.  Janet Arnold agrees, according to some of
>> the illustrations in the Patterns of Fashion Ren. volume.
>
>I agree with this wholeheartedly!!

The Bronzino in question is the guy who is wearing brown and has his hand
on his hip.  He faces to the viewer's left.  Under his arm can be seen the
fuzzing on the slashes in his satin doublet..

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

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Subject: [h-cost] Animal Relations was Re: colonial house
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This reminds me of the opening scene in the 15th century movie, The
Advocate, with Colin Firth. The town was going to hang both the animal
and the man for sexual relations. At the last minute, the town minister
approached the gallows and asked for the release of the animal (I think
it was a cow) because the animal did not have fault and they (the
townspeople) believed she still had good character. So the hangman
released the animal and the man was hung.	

Great movie with some of the best 15th century clothing and one-liners.

Kim

Kimberly Hulse
SCA: Katharine Devereaux
Alexandria, VA


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bice
Sent: Thursday, May 20, 2004 2:43 PM
To: Historical Costume
Subject: Re: [h-cost] Re: colonial house

That was done not because of guilt on the animals part but because the
animals were now tainted and no longer desirable as a food or work
source.
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 


> Can't speak to this, but burning at the stake wasn't big in the New
England
> colonies--hanging was much more popular. Here in the Fairfield area of
> Connecticut we hanged a couple of witches in the mid 1600s; as for
sexual
> deviance, a little farther north a man was hanged with an interesting
> variety of farm animals for fornication (the animals being the
fornicatees,
> but evidently the fact that they had had no choice didn't save them
from
the
> noose).
> --Ruth Anne Baumgartner
> scholar gypsy and amateur costumer
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While I was wasting time (the students in the next classroom are so noisy I can't grade papers), I discovered that the Costumers Guild West is sponsoring a costume for Historic Costumes at the Los Angeles County Fair this year.There are 3 categories: Fantasy & Science Fiction; Historic Interpretation; and Historic Reproduction. You DO NOT have to live in Los Angeles County to enter in the LA County Fair--it's open to the world. It's $1 to enter, and top prize is a membership to Costume College and a year's membership in the CGW. Entry date is July 15, 2004 and entries have to be dropped off/delivered to the fairgrounds on Monday, August 3rd (the day after Costume College ends). For more information on this, I'm including the link:http://www.lacountyfair.com/2004/Competitions/index2.aspThen click on the Clothing & Textiles section. Also the PDF ones aren't working, but the Word files are OK, so use those.Dawn

Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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>--Ruth Anne Baumgartner
>Can't speak to this, but burning at the stake wasn't big in the New
>England colonies--hanging was much more popular. Here in the Fairfield
>area of Connecticut we hanged a couple of witches in the mid 1600...

Burning at the stake in England, and the English colonies, was reserved for 
treason against the crown.  Fairfield -- hmm, that would be "Goodie" Knapp 
and Mary Staples, 1653.  (I didn't actually start out to study clothing and 
shoes :)  Originally my focus was on historical witchcraft trials...)

Marc (who had ancestors tried in the Hartfort and New Haven trials)

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In a message dated 5/19/2004 10:22:47 PM Eastern Standard Time, 
basyefelton@floodcity.net writes:

> used to read and walk down the hall at the
> same time,

Ooooo...mind those stairs....
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Marc wrote:
 
> I feel like I should point out that most of the
> complaints and criticisms 
> that people have had about the show have been
> discussed and explained IN the 
> context of the program, including when people have
> acted inapproprately and 
> why it was innappropriate to the experiment, and how
> it was handled and why.
> 
> I don't expect people who haven't actually been
> watching the show to see 
> this, but I'm at a loss to understand why people who
> HAVE been watching the 
> shows have missed these details.

And I'm at a bit of a loss as to what you're saying,
so perhaps you could elucidate.

IMNSHO, most, if not all, of the complaints and
criticism on this and other lists that are made up of
many historical reenactors is the result of
disappointment at the final product. When this was
originally publicized (a little over a year ago), the
producers reached out to the reenactment community,
and many historical reenactors (including myself)
applied. OK, so maybe I don't have the specific
qualifications they were looking for. However, to find
that once again, instead of creating a community to
really see how life might have been like in 1628, they
have instead created "Survivor: 1628 New England,"
dropped 17 people from the 21st Century into the
situation with little more than the clothes on their
backs, and then edited it to create as much "drama" as
they possibly could is very disappointing for me, and
I suspect, for others in the reenactment community.

It comes down to this: This is not the show that was
publicized when they were recruiting for it last year,
and to pass it off as "educational TV" is a sham. This
series would be better off on Fox, rather than PBS.

Again, if I've misunderstood your comments, please
elucidate.

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: [h-cost] Tailor's
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In the 12 century, was the title "tailor" a male designation?

Ex: Tailor = male sewer
    Seamstress + female sewer

Anyone know?

De
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Subject: Re: [h-cost] Re: colonial house
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Always felt the term Free Baptist was a bit of a misnomer.


----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 3:35 PM
Subject: Re: [h-cost] Re: colonial house


> Roger Williams was Free Baptist!
> ----- Original Message ----- 
> From: "Katie Pleasance" <Katie@katiesorchids.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, May 20, 2004 2:27 PM
> Subject: Re: [h-cost] Re: colonial house
>
>
> > Massachusets was founded by Puritans. Pennsylvania was founded by a
> Quaker,
> > Maryland was founded by a Catholic lord escaping Protestant persecution
of
> > the Catholics. Virginia was founded by investors and populated to a
great
> > degree with convict transportees. Rhode Island was (I believe) founded
by
> > Unitarians.
> >
> > Each colony had a personality very different from every other colony.
So,
> > the question is -- *which* personality is the show purportedly
> > representing? Jamestown was ***very*** different from Boston!
> >
> > Katie
> >
> > >  > did not necessarily mean that all persons living in
> > >  that
> > >  > community held the same convictions - that's what the stocks were
> or  -
> > >  It's
> > >  > also one of the reasons the other colonies were formed.
> > >
> >
> >
> > >  Yes, but the chances she would have gotten on a boat with a lot of
> Puritans
> > >  to escape religious persecution would have been slight.
> > >  Susan >>
> >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
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Subject: Re: [h-cost] Re: colonial house
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Greetings--

> Slight, maybe, but the chance still would have been there and many people
who
> "got on a boat to escape religious persecution"  found the persecution
just
> as bad or worse after they got here - otherwise, we'd be Puritans today.
And
> not everyone who came over at that time was a Puritan - many were, yes,
but not
> necessarily all, so no one - no matter how good his or her research is -
can
> say for sure what every single person of that time period was thinking.

As has been pointed out earlier, most of the earlier settlements were
corporations of like-minded people who decided to take the huge risk of
being one of the earliest colonists in order to be part of a settlement
arranged on whatever lines that particular corporation preferred.  If you
weren't like-minded, you probably would have never opted to join that
particular voyage, but would have found another more suited to your
sensibilities.   I don't doubt that there were some varying attitudes to be
found among these early settlers, but I don't think the spectrum was likely
as wide as that to be found on the show.

It's later on, as colonization moves beyond being a phenomenom of isolated
outposts, that some of the original colonists' goals and vision start to be
diluted.  Also, the children of the original colonists, as has also been
pointed out, might not share their parents' views--and so things begin to
evolve.

No, we can't know what every person was thinking.  We *can* make educated
guesses.

Susan

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Subject: Re: [h-cost] Re: colonial house
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Greetings--

The Washington Post has conducted some online discussions with some of the
Colonial House participants, which were pretty interesting.  Here are some
links to transcripts:

http://www.washingtonpost.com/wp-dyn/articles/A27393-2004May14.html

http://www.washingtonpost.com/wp-dyn/articles/A27371-2004May14.html

Susan

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The bow which is a double loop and not a singular is not going into a casing
though it could be perceived as doing so. The loop is caught up in the
ruffle and gap/seam opening.
This is not an example of drawstring chemise.

There are portraits that show several ties on a camicia. These ties have
been surmised as how the camicia was adjusted instead of a draw-string.
There is a portrait that I can't find right now that have the ties between
all of the panels. Usually,  the camicia is made of 7" wide linen panels.

De

-----Original Message-----
I respectfully disagree.

I find three things interesting about this neckline
1. The drawstring is not white, but is used decoratively as well as
functionally.
2. There are two drawstrings tied with bows in front of the clavicles
rather than a single bow at center front.
3. That the chemise is so exposed.

Now, regarding the drawstrings:
If you click on the picture enough times you get a *very* enlarged image
that shows much detail. Look at the bow on the right side of the picture.
Look at the left-hand aiglette. Follow that cord back to the bow. Where the
cord intersects the bow is a section of cord jutting to the left and
disappearing into the casing. The casing opening is even rounded where the
round cord enters the casing. To me this is evidence of a casing with a
cord coming out of the casing and the cord (drawstring) being tied in a
bow. The cord is a round cord as would be used as a drawstring. The bow
looks functional rather than decorative.

The drawstring is round -- definitely not a flat ribbon. The pleats are a
decorative edge trimming the neckline. The pleats attach to the body of the
chemise at the top of the casing.

As always, my opinion.

Katie


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In a message dated 5/20/2004 2:58:52 PM Pacific Daylight Time, 
nicolaa@rogers.com writes:

<< I don't doubt that there were some varying attitudes to be  found among 
these early settlers >>


This is, in fact, the exact point I was trying to make, so one cannot say 
that if you were a Puritan you would, of course, think like a Puritan - common 
sense tells you that all Puritans did not think alike, and although the intent 
when they started over here may have been to form some sort of "utopian 
society" with other like-thinking people the fact that there are (to my knowledge) no 
Puritans today (and there are still Quakers, and  Amish, and others) tells 
you that at least some of them were thinking differently after they got here.  
What works in theory does not always work in practice.  

As a re-enactor you may choose to portray a character who is one of the 
"by-the-book" Puritans, but you are making a conscious decision to act in a certain 
way - playing a character, much like any other actor - this may be the reason 
they chose not to have re-enactors on the show - trying to get "real" 
reactions from so-called "real" people (if you can consider any of the people that do 
so-called "reality television" real people).  

Jane
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In a message dated 5/20/04 3:29:28 PM Eastern Daylight Time, 
gailscott@eos.net writes:

> The Puritans weren't so much being persecuted
> as they were being drummed out of Europe -- because they were so unyielding,
> insistent, and zealous toward everyone else, not just themselves. They came
> here to establish the perfect society -- one of LIKE-MINDED people who were
> all just as fervid as they were. So yes, while in the cosmic scheme of
> things someone MIGHT have become a New England colonist for some other
> reason, it doesn't take mind-reading to figure out what was most probable in
> reality.
> 

Gail,

While I admire your convictions about your beliefs, I suggest that a little 
more research might be in order to help you more fully understand the social 
order of the 1620's in Colonial New England. The pilgrims of Mayflower fame were 
separatists not necessarily what we think of now as Puritans, the big Puritan 
influx,came with the Great Migration in the 1630's, along with their 
inclusive " you're with us or you're out" attitude (which is for example why the 
Quakers went to Rhode Island to stop being persecuted). Even the passengers of the 
Mayflower were not all of the same belief and were separated into more or less 
two groups, the religious separatists and the people who were just looking 
for a better life. You also can't assume that even the most righteous couldn't 
fall from grace under the pressure, one of my own ancestors,Stephen Hopkins of 
Mayflower passenger heritage, was fined several times for not attending 
Sabbath services and for serving liquor in his house on Sunday, along with beating 
some guy senseless, suing his neighbors for gossiping about his daughter's- 
shall we say- "friendliness", and treating a servant girl unfairly until her 
father intervened. The Plymouth Court records are a veritable list of the same 
kind of problems we have now, unwed pregnancy, slander, theft, and lots more if 
you keep looking......And never forget that the Puritans with their insistent 
beliefs and piety, were also not afraid to make a profit and in fact viewed 
financial success as a measure of their reward for serving God correctly (for 
gratuitous costume content you could do some checking on why they chose to wear 
black for their formal portraits and occasions, etc to impress others with 
their financial ability to own clothing in a difficult to produce and maintain 
color......). Finally, the second and third generation descendants of the Puritan 
immigrants did NOT share the same beliefs, much to the dismay of their 
parents, there are numerous instances where this is lamented and pointed to as a 
great source of trouble for them, for example, the well know Cotton and Mather 
family sermons are filled with references to how wicked and ungodly the "young" 
are.

Perry
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Subject: Re: [h-cost] Re: colonial house
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Mary Staples was the one who got in trouble for doubting the "witch marks"
and saying so. Roger Ludlowe accused her of witchcraft the next year, but
her husband sued Ludlowe for slander (!! would that more spouses had had the
guts and the wherewithal to do likewise elsewhere!). That trial was in New
Haven. Ludlowe skipped the country before the verdict--went to Ireland to
help Cromwell do his dirty work. Meanwhile, in I think 1692 somebody ELSE
accused Mary Staples of witchcraft, and also accused her daughter and
granddaughter. Once tainted.... (She got off, and so did her daughter and
granddaughter. Good thing: she was an ancestor of Winston Churchill's
mother, if I remember correctly!)

The other witch hanged (besides Goody Knapp) was Goody Bassett, a year or
two before Knapp. Her comment that "there was a witch in Fairfield who held
her head full high" was taken as evidence against Knapp and then alluded to
again against Staples.

Thank god I didn't live then, but they must have been "interesting times"!
How did your ancestors do in the trials? --Ruth Anne

on 5/20/04 4:47 PM, Marc Carlson at marccarlson20@hotmail.com wrote:

> Burning at the stake in England, and the English colonies, was reserved for
> treason against the crown.  Fairfield -- hmm, that would be "Goodie" Knapp
> and Mary Staples, 1653.  (I didn't actually start out to study clothing and
> shoes :)  Originally my focus was on historical witchcraft trials...)
> 
> Marc (who had ancestors tried in the Hartfort and New Haven trials)
> 
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>From: Dawn Jacobson <dme_maud@pacbell.net>
>>I feel like I should point out that most of the complaints and criticisms 
>>that people have had about the show have been
>>discussed and explained IN the context of the program,
>>including when people have acted inapproprately and why it
>>was innappropriate to the experiment, and how it was handled
>>and why.
>>I don't expect people who haven't actually been watching the
>>show to see this, but I'm at a loss to understand why people
>>who HAVE been watching the shows have missed these details.
>And I'm at a bit of a loss as to what you're saying,
>so perhaps you could elucidate.

Is there a reason you've chosen to use "elucidate" twice in your message?

I'm sorry, I didn't realize I was being unclear.  Let me be more explicit.

On this list, I've seen a number of complaints about things that have 
appeared on this series, from homosexuality, costuming issues, failure to 
behave in a 1600s fashion, the differences between those who came over for 
religious reasons versus those who came over to make money and so forth.   
Every one of these topics has been discussed in the episodes shown so far.

Now, perhaps I'm more cynical than some, but - having seen most of the other 
"house" programs they've produced, when they advertized this one, it never 
actually occured to me to assume that they were planning on making a 
historical documentary on life in 1620, or a living history re-enactment of 
the period, but rather that they were planning on putting some modern people 
with minimal training in situations where they would have to face the 
realities of life under different circumstances to illustrate and explore 
some of the difficulties that living in such a period might have experienced 
that we today generally don't have to deal with.  They have adequately 
fulfilled these expectations, AND successfully stuck some reasonably 
accurate educational stuff in there for those folks in the audience who are 
completely ignorant of the period in question.  In fact, most everything 
that was complained about has been presented in an educational fashion IN 
the program.

Therefore, as should be clear, I was a little confused as to why anyone 
would be complaining about those very things, much less be disappointed in 
this series.  As far as television made for money goes, I think it's highly 
educational and reasonably entertaining.  It may be that you are correct and 
that there are people who have naively assumed that any production made for 
television is going to be made to their expectations of what constitutes 
factually correct, but I have all sorts of trouble believing that -any- 
rational human who had seen any of the previous series could have drawn that 
conclusion (Understandably, I am continually surprised when people I think 
should know better are dissapointed in movies as well for the same reason.  
Since clearly I haven't learned that people are just going to bitch about 
these things even though they really ought to know better.  So with luck, 
someday it may sink in that some people just can't learn from experience - 
unfortunately that does seem to include me as well :) )

To be fair, I have not seen any of the "Survivor" programs, so I can't speak 
to the accuracy of the comparison of this series to those series.  If they 
-are- in fact education, then perhaps "Survivor" had more educational value 
than I was giving it credit for :)

Marc

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From h-costume-bounces@indra.com  Thu May 20 21:14:42 2004
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Date: Thu, 20 May 2004 21:10:26 -0400
From: Kitty Felton <basyefelton@floodcity.net>
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LOL, all one floor in our JR high, but I must have used peripheral
vision to judge where to pay attention for I had to go upstairs and
outside at the SRHigh.   teehee, Kitty

AlbertCat@aol.com wrote:
> 
> In a message dated 5/19/2004 10:22:47 PM Eastern Standard Time,
> basyefelton@floodcity.net writes:
> 
> > used to read and walk down the hall at the
> > same time,
> 
> Ooooo...mind those stairs....
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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] Re: colonial house
Date: Thu, 20 May 2004 21:39:12 -0400
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Mine, John Proctor and Susanna Martin were hanged in Salem.
Kathleen
----- Original Message ----- 
From: "ruthanne baumgartner" <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 8:18 PM
Subject: Re: [h-cost] Re: colonial house


> Mary Staples was the one who got in trouble for doubting the "witch marks"
> and saying so. Roger Ludlowe accused her of witchcraft the next year, but
> her husband sued Ludlowe for slander (!! would that more spouses had had
the
> guts and the wherewithal to do likewise elsewhere!). That trial was in New
> Haven. Ludlowe skipped the country before the verdict--went to Ireland to
> help Cromwell do his dirty work. Meanwhile, in I think 1692 somebody ELSE
> accused Mary Staples of witchcraft, and also accused her daughter and
> granddaughter. Once tainted.... (She got off, and so did her daughter and
> granddaughter. Good thing: she was an ancestor of Winston Churchill's
> mother, if I remember correctly!)
>
> The other witch hanged (besides Goody Knapp) was Goody Bassett, a year or
> two before Knapp. Her comment that "there was a witch in Fairfield who
held
> her head full high" was taken as evidence against Knapp and then alluded
to
> again against Staples.
>
> Thank god I didn't live then, but they must have been "interesting times"!
> How did your ancestors do in the trials? --Ruth Anne
>
> on 5/20/04 4:47 PM, Marc Carlson at marccarlson20@hotmail.com wrote:
>
> > Burning at the stake in England, and the English colonies, was reserved
for
> > treason against the crown.  Fairfield -- hmm, that would be "Goodie"
Knapp
> > and Mary Staples, 1653.  (I didn't actually start out to study clothing
and
> > shoes :)  Originally my focus was on historical witchcraft trials...)
> >
> > Marc (who had ancestors tried in the Hartfort and New Haven trials)
> >
> > _________________________________________________________________
> > Is your PC infected? Get a FREE online computer virus scan from McAfee®
> > Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963
> >
> > _______________________________________________
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> > h-costume@mail.indra.com
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>
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From: Judy Mitchell <judymitch@oldwaylane.net>
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Subject: Re: [h-cost] Re: colonial house
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Fascinating collection of descendants here! My ancestress 
was Mary Esty (and essentially her sisters). But also: John 
Alden who was in Plymouth as the ships cooper (they had a 
cooper, dunno about Colonial House, but the ship was 
required by law to have one) and Priscilla Mullins because 
her father was one of the financiers who wanted to go along.

      -Judy Mitchell


Lloyd Mitchell wrote:
> Mine, John Proctor and Susanna Martin were hanged in Salem.
> Kathleen
> ----- Original Message ----- 
> From: "ruthanne baumgartner" <ruthanneb@mindspring.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, May 20, 2004 8:18 PM
> Subject: Re: [h-cost] Re: colonial house
> 
> 
> 
>>Mary Staples was the one who got in trouble for doubting the "witch marks"
>>and saying so. Roger Ludlowe accused her of witchcraft the next year, but
>>her husband sued Ludlowe for slander (!! would that more spouses had had
> 
> the
> 
>>guts and the wherewithal to do likewise elsewhere!). That trial was in New
>>Haven. Ludlowe skipped the country before the verdict--went to Ireland to
>>help Cromwell do his dirty work. Meanwhile, in I think 1692 somebody ELSE
>>accused Mary Staples of witchcraft, and also accused her daughter and
>>granddaughter. Once tainted.... (She got off, and so did her daughter and
>>granddaughter. Good thing: she was an ancestor of Winston Churchill's
>>mother, if I remember correctly!)
>>
>>The other witch hanged (besides Goody Knapp) was Goody Bassett, a year or
>>two before Knapp. Her comment that "there was a witch in Fairfield who
> 
> held
> 
>>her head full high" was taken as evidence against Knapp and then alluded
> 
> to
> 
>>again against Staples.
>>
>>Thank god I didn't live then, but they must have been "interesting times"!
>>How did your ancestors do in the trials? --Ruth Anne
>>
>>on 5/20/04 4:47 PM, Marc Carlson at marccarlson20@hotmail.com wrote:
>>
>>
>>>Burning at the stake in England, and the English colonies, was reserved
> 
> for
> 
>>>treason against the crown.  Fairfield -- hmm, that would be "Goodie"
> 
> Knapp
> 
>>>and Mary Staples, 1653.  (I didn't actually start out to study clothing
> 
> and
> 
>>>shoes :)  Originally my focus was on historical witchcraft trials...)
>>>
>>>Marc (who had ancestors tried in the Hartfort and New Haven trials)
>>>
>>>_________________________________________________________________
>>>Is your PC infected? Get a FREE online computer virus scan from McAfee®
>>>Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963
>>>
>>>_______________________________________________
>>>h-costume mailing list
>>>h-costume@mail.indra.com
>>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>>_______________________________________________
>>h-costume mailing list
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>>
> 
> 
> _______________________________________________
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> 



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Subject: [h-cost] Simplicity's corset patterns
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Hi all,
As my local fabric  store has a 3 for the price of 1 deal on Simplicity
patterns (Lincraft for anyone else in Oz, sale ends next Tuesday) so I
thought I'd buy the civil war underwear patterns but I'm not sure which
corset pattern to take as one of my free patterns, there's 2 different
styles, 1 with bust gores (and therefore adjustability for the bust) and one
without. I'm a D cup so I think I may have to opt for the one with gores,
but has anybody got experience with these 2 styles & can tell me which is
easier or more authentic or just better for some other reason. Though if the
one without gores would work with my bust I'll opt for that as you get
drawers with that one for exactly the same price.
Any and all suggestions for working with these patterns will be appreciated
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Date: Thu, 20 May 2004 22:27:36 -0400
Subject: Re: [h-cost] Re: Colonial House series
From: Marsha J Hamilton <mjh@pearlandplume.com>
To: Historical Costume <h-costume@indra.com>
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I've seen more than one photo from the 1880s of pioneer women standing in
front of sod houses* in Kansas wearing nicely fitted cotton dresses, clearly
worn over a corset, with their hair done up properly.  Although living in
squalor, they still had modesty, propriety and dignity.  Colonial House is
out of control.

* (Non-US folks) Kansas prairie grassland had few trees so early houses were
made from cut squares of sod piled like bricks.

Marsha
------- 

> I haven't studied frontier living, but it would seem
> to me that propriety would also be very important
> there...They were civilized people, and it would seem to me that they would
cling to what trappings of civilization they could...
> Is this just a modern interpretation that's totally
> off-base, or does anyone else think there might be
> something in the idea?
> 
> -Angela

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Date: Thu, 20 May 2004 20:25:37 -0700
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Subject: [h-cost] Sale At Jo - Anns
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Just thought everyone should know that Jo-Ann's having a sale on patters, McCalls and Simplicity are $0.99 and vogue is 75% off.


Brandy 
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: colonial house
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Jerankin435@cs.com wrote:
> 
  the fact that there are (to my knowledge) no
> Puritans today 

They call themselves Congregationalists now, and their churches are 
still all over New England.

http://en.wikipedia.org/wiki/Congregationalist_Church



Dawn




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Subject: Re: [h-cost] Finishing slashed material- paned vs slashed
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The one I saw was in Sacramento--I forget the name of the museum, but 
I'm sure there are others on the list who will remember for me.
And I got to see it *really* close--I was about 6 inches away from it, 
which was like being 6 inches away from the holy grail or something, at 
least for me <g>!
What led me to see the openings as slashes? A couple of observations on 
a detail near Eleanor's left? wrist.  And a tiny enough detail that I've 
never noticed it in any of the book or online reproductions (or, come to 
think of it, in the "postcards" I have).
1.  The brocade pattern of the fabric is continuous--no break of any 
kind to indicate seamline.  No change in the refraction of the light 
from the satin background fabric, nada.  Obviously one piece of fabric.
2.  The braid on the edges of the slash came down one side of the 
opening, did a U-ey, and went back up the other side.
I'm no good at ascii art, so I won't attempt to draw it, but does my 
explanation make sense?  It really was one of those great "aha" moments 
for me, so maybe it's a "seeing is believing" thing.
--sue
p.s.  It was a cool museum, by the way, even if they did make the 
unfortunately common error of equating the gown in the portrait for the 
one she was buried in--lots of 19th c.? California landscapes, and 
interesting coverlet from Spain (16th or 17th c, I think), the Bronzino, 
and a Breughel, which was *very* cool, and surprisingly small!

ailith wrote:
> Really?? Not trying to be a smarty pants...truly!
> 
> I didn't see that and I've seen 2 of the portraits--the one in the
> Detroit Museum of Art and the one at the Wallace. Granted, the one at
> the Wallace is 7' up on the wall...but I was able to get within inches
> of the one in Detroit. They still look like paned sleeves to me.
> 
> What, to your eye, makes it obvious that they're slashes?
> 
> Curiously,
> 
> kate
> 
> ----- Original Message ----- 
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, May 20, 2004 12:18 PM
> Subject: Re: [h-cost] Finishing slashed material- paned vs slashed
> 
> 
> 
>>What she said! <g>
>>I always figured that the Bronzino of Eleanor of Toledo (the one
> 
> with
> 
>>the black/gold/white dress) showed her with paned sleeves (i.e.,
> 
> sleeves
> 
>>made of several separate strips of fabric), but seeing one of the
> 
> real
> 
>>portraits, it's obvious that the sleeve openings are slashes, and
> 
> the
> 
>>edges are finished with a braid.
>>--sue

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Jean wrote:
> It was called (in th UK at least) "Surviving the Iron Age".  It was
> quite short I think, maybe just a week, compared to the other series.
>

Thanks for the title.  I was able to read a bit about it on the BBC website.
             -Helen/Aidan


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That's not quite was I was giggling at.  IIRC, today's baptists are 
"descended" from the Anabaptists, and the Puritans were apt to think of 
them in, uh, not very complimentary ways.  I believe they exiled them to 
places like Rhode Island. <g>  There was a whole lot less of the modern 
evangelical sense of having a personal relationship with a Savior, and a 
whole lot more about predestination, graphic imagery of sinners in hell, 
etc.  God wasn't a nice guy, and salvation wasn't exactly assured, 
although you could look for clues to whether you were considered one of 
the "elect" by how well your life was going.  Not too far a stretch to 
tie it into some of the aspects of modern prosperity theology, come to 
think of it.
OCC: Has anyone else tried the little "dress the colonist" quiz on the 
website? I did okay until I got to the shoes--dunno about the rest of 
you (women) who wear clothing from corseted time periods, but I, 
personally, put the shoes on *before* the corset, so I can bend over and 
tie or buckle, as the case may be. ;o)
--sue

Lloyd Mitchell wrote:

> It has been my understanding that the Pilgrims (Plimouth) and Puritans
> (Boston) were not quite the same thing.  Pilgrims were looking for religious
> freedom and Puritans ('Round heads'?) were part of a status quo who were
> politically approved and financially connected to Colonization.
> Kathleen---- Original Message ----- 
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, May 20, 2004 12:31 PM
> Subject: Re: [h-cost] Re: colonial house
> 
> 
> 
>>Is anyone besides me getting a twisted giggle out of the idea of a
>>*Baptist* minister portraying a Puritan? Or is that too obscure a
>>historical bit? <g>
>>As far as dissenters go, at least some of the "persona histories" on the
>>website are clear that they're not there for religious reasons, but for
>>financial gain, etc, etc.  Can't remember if this was also the storyline
>>given for the Voorhees family, but I know it was for some of the others.
>>Historically, certainly there were some who came for religious reasons,
>>but not most of them, despite cultural misconceptions about same in US
>>culture.
>>--sue


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Well, I have, having gotten hooked somewhere during the "Africa" season. 
  And I haven't seen one yet that really resembles in any major way 
*ANY* of the various historical-house shows.
There are cosmetic similarities--folks who have minimal training, in a 
setting foreign to them in time and/or place, personality conflicts 
(which I file under the "well, duh, they're human" heading), stuff like 
that.  And with Pioneer House, at least, there was a slight sense of 
competition with the group goal, but other than that, they're really 
pretty dissimilar.
And I watch them for completely different reasons--I love the historical 
angle of the "house" shows, and I think of them as the equivalent of a 
reasonably well researched historical novel, and *not* a scholarly text. 
  With the "Survivor" shows, it's more about the sheer fascination of 
watching rats in a maze--what people will and won't do for a million 
bucks, what works and what doesn't in relationships, etc.  More like 
sneaking a peek at the tabloids when you're in line at the grocery store.
I've seen the 1st four hours of Colonial House, and look forward to 
seeing the other half of it next week, which is when our station is 
showing them.
--sue

Marc Carlson wrote:

> To be fair, I have not seen any of the "Survivor" programs, so I can't 
> speak to the accuracy of the comparison of this series to those series.  
> If they -are- in fact education, then perhaps "Survivor" had more 
> educational value than I was giving it credit for :)
> 
> 

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Son of a gun! We're "cousins" of a sort....My dad always said we were 
descended from those two, as well.
--sue, who  has other relatives that settled in Mass. in the early 1600s 
(I think I'm...11th? 12th? generation from that line)

Judy Mitchell wrote:

> Fascinating collection of descendants here! My ancestress was Mary Esty 
> (and essentially her sisters). But also: John Alden who was in Plymouth 
> as the ships cooper (they had a cooper, dunno about Colonial House, but 
> the ship was required by law to have one) and Priscilla Mullins because 
> her father was one of the financiers who wanted to go along.
> 
>      -Judy Mitchell
> 

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Subject: [h-cost] Market wallets?
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Hello,
I'm making an 18th-century style "market wallet" -- a sort of two-ended bag
that opens through a slit in the middle. I've seen them referred to in the
early 19th century, too, but has anybody got any idea how far back they go?
Such a functional design could easily be quite old, but then again, maybe
not. 

Any thoughts?
Thanks,
Lauren

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Date: Fri, 21 May 2004 14:45:24 -0400
Subject: Re: [h-cost] Re: Colonial House Series
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I had to stop watching "Survivor" the day I realized it was just office
politics in bathing suits with the threat of literal instead of figurative
starvation. They historical ones, on the other hand, drive me bats with
wanting to get in there and do it "right". Or just take over their lovely
buildings and send the whingers all home for a hot bath and a nice dinner.

> From: Sue Clemenger <mooncat@in-tch.com>
> 
> 
> Well, I have, having gotten hooked somewhere during the "Africa" season.
> And I haven't seen one yet that really resembles in any major way
> *ANY* of the various historical-house shows.
> There are cosmetic similarities--folks who have minimal training, in a
> setting foreign to them in time and/or place, personality conflicts
> (which I file under the "well, duh, they're human" heading), stuff like
> that.  And with Pioneer House, at least, there was a slight sense of
> competition with the group goal, but other than that, they're really
> pretty dissimilar.

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Hi,

I made the one with bust gores.
Unfortionally I made it at least size to big.
But I had no problems putting it toghter and it wil fit very well if I 
make it one size smaller.
And it needs a busk.
http://www.deredere.dds.nl/Victorian/Victorian.html

Greetings,
    Deredere

Elizabeth Walpole wrote:

>Hi all,
>As my local fabric  store has a 3 for the price of 1 deal on Simplicity
>patterns (Lincraft for anyone else in Oz, sale ends next Tuesday) so I
>thought I'd buy the civil war underwear patterns but I'm not sure which
>corset pattern to take as one of my free patterns, there's 2 different
>styles, 1 with bust gores (and therefore adjustability for the bust) and one
>without. I'm a D cup so I think I may have to opt for the one with gores,
>but has anybody got experience with these 2 styles & can tell me which is
>easier or more authentic or just better for some other reason. Though if the
>one without gores would work with my bust I'll opt for that as you get
>drawers with that one for exactly the same price.
>Any and all suggestions for working with these patterns will be appreciated
>Elizabeth
>----------------------------------------------------------------------------
>----
>Elizabeth Beaumont              Elizabeth Walpole
>Politarchopolis, Lochac     Canberra Australia
>             ewalpole@austar.net.au
>
>People are like stained glass windows. They sparkle and shine when the sun
>is out, but when the darkness sets in ,their true beauty is revealed only if
>there is light from within.
>Elizabeth Kubler-Ross
>
>The years that a woman subtracts from her age are not lost. They are added
>to the ages of other women.
>Diane de Poitiers (1499-1566) Attrib.
>
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>  
>



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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Re: colonial house
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Kate Bunting
Library, University of Derby

>>> rmitchell@washjeff.edu 20/05/2004 20:15:07 >>>
>It has been my understanding that the Pilgrims (Plimouth) and
>Puritans (Boston) were not quite the same thing.  Pilgrims were looking
>for religious freedom and Puritans ('Round heads'?) were part of a
>status quo who were politically approved and financially connected to
>Colonization.
>Kathleen---

Not quite. "Puritan" was a term used (by others) to describe the party 
that considered the Church of England to be still too "Catholic" in its
practices, and had a horror of any kind of ritual. The Pilgrim Fathers
were part of this movement. They saw themselves as a reform movement
within the Church, but the Presbyterian and Congregational churches
later evolved from them.
 There were wealthy Puritans who financed voyages to America, but they
weren't "politically approved" until the Parliamentarians("Roundheads") 
won the Civil War in the 1640s (and that only lasted until the
Restoration in 1660).




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Subject: Re: [h-cost] Re: colonial house
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Thank you very much, Kate.  This
is the clearest explanation of the difference between the two groups that I
have seen.
Kathleen----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Friday, May 21, 2004 4:54 AM
Subject: Re: [h-cost] Re: colonial house


>
>
> Kate Bunting
> Library, University of Derby
>
> >>> rmitchell@washjeff.edu 20/05/2004 20:15:07 >>>
> >It has been my understanding that the Pilgrims (Plimouth) and
> >Puritans (Boston) were not quite the same thing.  Pilgrims were looking
> >for religious freedom and Puritans ('Round heads'?) were part of a
> >status quo who were politically approved and financially connected to
> >Colonization.
> >Kathleen---
>
> Not quite. "Puritan" was a term used (by others) to describe the party
> that considered the Church of England to be still too "Catholic" in its
> practices, and had a horror of any kind of ritual. The Pilgrim Fathers
> were part of this movement. They saw themselves as a reform movement
> within the Church, but the Presbyterian and Congregational churches
> later evolved from them.
>  There were wealthy Puritans who financed voyages to America, but they
> weren't "politically approved" until the Parliamentarians("Roundheads")
> won the Civil War in the 1640s (and that only lasted until the
> Restoration in 1660).
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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http://dsc.discovery.com/news/briefs/20040517/breasts.html

Cass :)

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Subject: Re: [h-cost] Finishing slashed material- paned vs slashed
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At 10:37 PM 5/20/2004 -0600, you wrote:
>The one I saw was in Sacramento--I forget the name of the museum, but I'm 
>sure there are others on the list who will remember for me.
>And I got to see it *really* close--I was about 6 inches away from it, 
>which was like being 6 inches away from the holy grail or something, at 
>least for me <g>!
>What led me to see the openings as slashes? A couple of observations on a 
>detail near Eleanor's left? wrist.  And a tiny enough detail that I've 
>never noticed it in any of the book or online reproductions (or, come to 
>think of it, in the "postcards" I have).
>1.  The brocade pattern of the fabric is continuous--no break of any kind 
>to indicate seamline.  No change in the refraction of the light from the 
>satin background fabric, nada.  Obviously one piece of fabric.
>2.  The braid on the edges of the slash came down one side of the opening, 
>did a U-ey, and went back up the other side.
>I'm no good at ascii art, so I won't attempt to draw it, but does my 
>explanation make sense?  It really was one of those great "aha" moments 
>for me, so maybe it's a "seeing is believing" thing.
>--sue
>p.s.  It was a cool museum, by the way, even if they did make the 
>unfortunately common error of equating the gown in the portrait for the 
>one she was buried in--lots of 19th c.? California landscapes, and 
>interesting coverlet from Spain (16th or 17th c, I think), the Bronzino, 
>and a Breughel, which was *very* cool, and surprisingly small!

Was it the Crocker Museum?

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I've made the earlier version without gores and it was
easy to make and with the style boning I used I did
not need a busk. The sizing seemed to be a little
large. I had to go back and cut the poor thing down by
about 4 inches to fit me.

Catalina


 --- Deredere Galbraith <triade@kabelfoon.nl> wrote: >
> 
> >Hi all,
> >As my local fabric  store has a 3 for the price of
> 1 deal on Simplicity
> >patterns (Lincraft for anyone else in Oz, sale ends
> next Tuesday) so I
> >thought I'd buy the civil war underwear patterns
> but I'm not sure which
> >corset pattern to take as one of my free patterns,
> there's 2 different
> >styles, 1 with bust gores (and therefore
> adjustability for the bust) and one
> >without. I'm a D cup so I think I may have to opt
> for the one with gores,
> >but has anybody got experience with these 2 styles
> & can tell me which is
> >easier or more authentic or just better for some
> other reason. Though if the
> >one without gores would work with my bust I'll opt
> for that as you get
> >drawers with that one for exactly the same price.
> >Any and all suggestions for working with these
> patterns will be appreciated
> >Elizabeth


=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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Difference? I was trying to explain that the Pilgrims and Roundheads
were both part of the *same* Puritan movement...

Kate Bunting
Library, University of Derby

>>> rmitchell@washjeff.edu 21/05/2004 12:42:56 >>>
Thank you very much, Kate.  This
is the clearest explanation of the difference between the two groups
that I
have seen.
Kathleen----
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I bought the one with gores since I heard that the gores were more
supportive for a busty woman.   Kitty

Elizabeth Walpole wrote:
> 
> Hi all,
> As my local fabric  store has a 3 for the price of 1 deal on Simplicity
> patterns (Lincraft for anyone else in Oz, sale ends next Tuesday) so I
> thought I'd buy the civil war underwear patterns but I'm not sure which
> corset pattern to take as one of my free patterns, there's 2 different
> styles, 1 with bust gores (and therefore adjustability for the bust) and one
> without. I'm a D cup so I think I may have to opt for the one with gores,
> but has anybody got experience with these 2 styles & can tell me which is
> easier or more authentic or just better for some other reason. Though if the
> one without gores would work with my bust I'll opt for that as you get
> drawers with that one for exactly the same price.
> Any and all suggestions for working with these patterns will be appreciated
> Elizabeth
> ----------------------------------------------------------------------------
> ----
> Elizabeth Beaumont              Elizabeth Walpole
> Politarchopolis, Lochac     Canberra Australia
>              ewalpole@austar.net.au
> 
> People are like stained glass windows. They sparkle and shine when the sun
> is out, but when the darkness sets in ,their true beauty is revealed only if
> there is light from within.
> Elizabeth Kubler-Ross
> 
> The years that a woman subtracts from her age are not lost. They are added
> to the ages of other women.
> Diane de Poitiers (1499-1566) Attrib.
> 
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In a message dated 5/21/2004 9:42:45 AM Eastern Standard Time, 
basyefelton@floodcity.net writes:

> I bought the one with gores since I heard that the gores were more
> supportive for a busty woman.   Kitty
> 
> 

Gores are in a skirt.

Do you mean gussets?

Anyway, I don't see how they can be more supportive. It's the fabric and 
boning that supports. Whether you choose gussets or a "French" cut [shaped pieces] 
has more to do with silhouette. Both work equally well support-wise.
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Subject: [h-cost] Colonial House
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I have found it very interesting how many of the folks on this list
trace their ancestory back to this time.  One branch of my family, the
Lewis', also came over the pond in the early 1620's with one of the
first Methodist colonies in Massachusetts.

While I wish they would be more accurate I still enjoy the 'House'
series.  I'm not sure I would do all that much better than some of the
folks in the series but it would be fun to try.  I do kind of wonder
however why the Powers-that-be for these series tend to take books from
this time on 'how life should be lived' so seriously (I am thinking, in
particular, of the book on housekeeping that was used in the 1900 House
series).  My impression has always been that these were just one way of
living that *someone* felt needed to be reinforced with written
instructions.  If everyone was really living this way, no book would
have been required :).

The corsets are starting to drive me nuts on Colonial House, why the
heck did they not make them so the straps would stay up!!!!

Catherine
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Dawn wrote:
> 
> Jerankin435@cs.com wrote:
> >
>   the fact that there are (to my knowledge) no
> > Puritans today
> 
> They call themselves Congregationalists now, and their churches are
> still all over New England.
> 
> http://en.wikipedia.org/wiki/Congregationalist_Church
> 
> Dawn
> 
it is my understanding that puritans were called that at the time
because of their efforts to try to "purify" the anglican (Episcopalian)
church of Unbiblical practices.   I would imagine since they failed,
they eventually ceased from calling themselves that, or perhaps those
around them ceased from calling them that as they began to deemphasize
that aspect of their efforts.   Kitty

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Date: Fri, 21 May 2004 10:15:35 -0400
From: Kitty Felton <basyefelton@floodcity.net>
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Subject: Re: [h-cost] Market wallets?
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how does it close?   where did you find the pattern or description of
how to make it?   it sounds similar to some japanese bags I have seen
patterns for.   Kitty

Lauren Walker wrote:
> 
> Hello,
> I'm making an 18th-century style "market wallet" -- a sort of two-ended bag
> that opens through a slit in the middle. I've seen them referred to in the
> early 19th century, too, but has anybody got any idea how far back they go?
> Such a functional design could easily be quite old, but then again, maybe
> not.
> 
> Any thoughts?
> Thanks,
> Lauren
> 
> _______________________________________________
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Subject: Re: [h-cost] Simplicity's corset patterns
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Oh, right.   maybe what they wrote was possibly that since the shape of
the corset could conform more easily to the larger figure, it would be
easier to fit to the bust.   lots less curved seams to sew for one thing. 
 Sorry, I wasn't thinking well last night.   Nausea and all.  sorry again.
 Kitty


> In a message dated 5/21/2004 9:42:45 AM Eastern Standard Time,
> basyefelton@floodcity.net writes:
>
>> I bought the one with gores since I heard that the gores were more
>> supportive for a busty woman.   Kitty
>>
>>
>
> Gores are in a skirt.
>
> Do you mean gussets?
>
> Anyway, I don't see how they can be more supportive. It's the fabric and
>  boning that supports. Whether you choose gussets or a "French" cut
> [shaped pieces]  has more to do with silhouette. Both work equally well
> support-wise. _______________________________________________
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Thank you Catherine for making the point about the instruction books for
living. Possibly were not more how life was lived than Martha Stewart et.
al. books. Also have always wondered about all the books and pampletes and
preaching(just about in every belief system)for females to be "chaste,
silent, and obedient." It would have been an expensive waste of paper, ink,
and printing press to supply all this information and advice to the
"converted", so to speak.  Except all the how-tos and recipes for food and
medicine are most instructive to us today.

To be off-topic, I've been researching the Salem witchcraft episode off and
on for years with the aim of writing a historically correct novel. I've
always been most interested in the real John Proctor family, as opposed to
Arthur Miller's interpretation, as the real family was far more
interesting!As well as Mary Warren who disappeared from surviving history
records at the end of the trials. Also, as part of my research, are there
any wills or family inventories as to what the Salem village families wore
in 1692? Modern history tends to put everyone in the Pilgrim and Puritan
styles of 60-70 years earlier. But someone like Elizabeth Proctor I see
wearing more like a mantua, at least for Sabbath best. How far would a
fairly wealthy family, rural but with ties to the seacost town of Salem(the
Proctors attended the Salem Town meetinghouse, not the one Salem Village?

Cindy Abel



I have found it very interesting how many of the folks on this list
trace their ancestory back to this time.  One branch of my family, the
Lewis', also came over the pond in the early 1620's with one of the
first Methodist colonies in Massachusetts.

While I wish they would be more accurate I still enjoy the 'House'
series.  I'm not sure I would do all that much better than some of the
folks in the series but it would be fun to try.  I do kind of wonder
however why the Powers-that-be for these series tend to take books from
this time on 'how life should be lived' so seriously (I am thinking, in
particular, of the book on housekeeping that was used in the 1900 House
series).  My impression has always been that these were just one way of
living that *someone* felt needed to be reinforced with written
instructions.  If everyone was really living this way, no book would
have been required :).

The corsets are starting to drive me nuts on Colonial House, why the
heck did they not make them so the straps would stay up!!!!

Catherine
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> The one I saw was in Sacramento--I forget the name of the museum, but
> I'm sure there are others on the list who will remember for me.
> And I got to see it *really* close--I was about 6 inches away from it,
> which was like being 6 inches away from the holy grail or something, at
> least for me <g>!

Sue & list,

The name of the museum is the Crocker Art Gallery.  It does have a nice
collection of items and they have 19th century clothing as well.  I
suspect if you write ahead, you could view the collection up close, if
anyone is interested.

But yes, they do have one of the four (?) reproductions of the Eleanora of
Toledo painting that is in all of the books.  It is quite large, too. 
Like poster-sized.  And there are no ropes or shadow boxes in front of it
so you can indeed get right up close to it and study the details.

Diana Habra
www.RenaissanceFabrics.net
"Everything for the Costumer"
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In a message dated 5/21/2004 10:34:01 AM Eastern Standard Time, 
basyefelton@floodcity.net writes:

> sorry again

No need to apologize. I just want to make sure we all know what you're 
talking about.

I think you have more control over shape with a "French" corset pattern. You 
can have as many pieces as you need. But I do love the gusset shapes best. 
They can be subtle in a different way from curved shaped pieces. They seem, to 
me, to have a more "period" shape.

Past Patterns has an 1860s corset with gussets that is my favorite 19th 
century corset pattern. [Sorry, can't remember the number. Anyone?] It is lightly 
boned so I added a bone between each bone on the pattern.[you could add more]. 
I also lengthened it about an inch. I think it works from the late 1830s thru 
the 1860s.

Personally, every corset, regardless of cut, looks better on someone who has 
some flesh to move around.
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In a message dated 5/20/2004 10:27:08 PM Central Daylight Time, 
h-costume-request@indra.com writes:
and  Amish
The Amish broke off from the Mennonites though while still in Europe.
Kelly
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	Fri, 21 May 2004 09:37:46 PDT
Date: Fri, 21 May 2004 09:37:46 -0700 (PDT)
From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Simplicity's corset patterns
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> albracat, I believe, said something like: 
> Gores are in a skirt.

'Scuse me?

Gores are panels that extend the full length of a
garment & allow for shaping.

They can be in any garment, I believe, so a
princess-seamed garment, of historic cut or not, can
be said to be gored; skirts can be gored & frequently
have been, and corsets can & are gored.


Both Simplicity corset patterns, and a great many
others, are gored.

> Do you mean gussets?

A (vaguely) triangular or pie-wedge-shaped piece with
some side to the 'edge' of a garment in a godet.

A gusset is enclosed, like the typical Underarm Gusset
in your basic rectangles & triangles shirt.

yes, i can spell pendantic.
Ann in CT


	
		
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Subject: [h-cost] Gores versus gussets
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The terms "gores" and "gussets" are somewhat confusing when applied to 
corsets, because in original 19th-century terminology what we now would 
call "gussets" are often called "gores."  Also somewhat confusing when 
applied to skirts, because in original 19th-century terminology 
rectangular sections are sometimes called "gores," particularly when 
some or all of the other skirt sections are shaped.

As I've said before, 19th-century fashion and sewing terminology is by 
no means consistent, and terms are by no means always used the way we 
now use them.

Fran
Lavolta Press Books on Historic Costuming
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	Fri, 21 May 2004 10:55:36 PDT
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Responded to privately.
> 
> >From: Dawn Jacobson <dme_maud@pacbell.net>
> >>I feel like I should point out that most of the
> complaints and criticisms 
> >>that people have had about the show have been
> >>discussed and explained IN the context of the
> program,
> >>including when people have acted inapproprately
> and why it
> >>was innappropriate to the experiment, and how it
> was handled
> >>and why.
> >>I don't expect people who haven't actually been
> watching the
> >>show to see this, but I'm at a loss to understand
> why people
> >>who HAVE been watching the shows have missed these
> details.
> >And I'm at a bit of a loss as to what you're
> saying,
> >so perhaps you could elucidate.
> 
> Is there a reason you've chosen to use "elucidate"
> twice in your message?
> 
> I'm sorry, I didn't realize I was being unclear. 
> Let me be more explicit.
> 
> On this list, I've seen a number of complaints about
> things that have 
> appeared on this series, from homosexuality,
> costuming issues, failure to 
> behave in a 1600s fashion, the differences between
> those who came over for 
> religious reasons versus those who came over to make
> money and so forth.   
> Every one of these topics has been discussed in the
> episodes shown so far.
> 
> Now, perhaps I'm more cynical than some, but -
> having seen most of the other 
> "house" programs they've produced, when they
> advertized this one, it never 
> actually occured to me to assume that they were
> planning on making a 
> historical documentary on life in 1620, or a living
> history re-enactment of 
> the period, but rather that they were planning on
> putting some modern people 
> with minimal training in situations where they would
> have to face the 
> realities of life under different circumstances to
> illustrate and explore 
> some of the difficulties that living in such a
> period might have experienced 
> that we today generally don't have to deal with. 
> They have adequately 
> fulfilled these expectations, AND successfully stuck
> some reasonably 
> accurate educational stuff in there for those folks
> in the audience who are 
> completely ignorant of the period in question.  In
> fact, most everything 
> that was complained about has been presented in an
> educational fashion IN 
> the program.
> 
> Therefore, as should be clear, I was a little
> confused as to why anyone 
> would be complaining about those very things, much
> less be disappointed in 
> this series.  As far as television made for money
> goes, I think it's highly 
> educational and reasonably entertaining.  It may be
> that you are correct and 
> that there are people who have naively assumed that
> any production made for 
> television is going to be made to their expectations
> of what constitutes 
> factually correct, but I have all sorts of trouble
> believing that -any- 
> rational human who had seen any of the previous
> series could have drawn that 
> conclusion (Understandably, I am continually
> surprised when people I think 
> should know better are dissapointed in movies as
> well for the same reason.  
> Since clearly I haven't learned that people are just
> going to bitch about 
> these things even though they really ought to know
> better.  So with luck, 
> someday it may sink in that some people just can't
> learn from experience - 
> unfortunately that does seem to include me as well
> :) )
> 
> To be fair, I have not seen any of the "Survivor"
> programs, so I can't speak 
> to the accuracy of the comparison of this series to
> those series.  If they 
> -are- in fact education, then perhaps "Survivor" had
> more educational value 
> than I was giving it credit for :)
> 
> Marc

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From: "Althea Turner" <althea@alfalfapress.com>
To: Historical Costume <h-costume@indra.com>
Date: Fri, 21 May 2004 13:01:03 -0500
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Subject: [h-cost] article on early medieval embroidery stitches
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Greetings all,

I have been looking through my notes for a citation on an article but can't 
find it.  It was on known embroidery stitches in northern europe 400-800 (ish)

Does anyone know of such an article/website/book?  Am I going crazy and 
imagining the reference?  *laughs*

Is there a similar article on seam/stitches?

Thanks!!!

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An e-friend of mine in California asked me for advice on something that's
so far out of my period I have no clue what to tell her. So I'm asking you
folks.

Her message is below, with some further elaboration based on my questions
to her. She needs to be able to adapt materials-on-hand for husband and
child (age 10) on short notice, for a one-shot deal, so accurate kit is
not required, just something that has basically the right look.

Her message:

<<
My daughter is doing a Revolutionary War reenactment next week at school 
and my husband, Brian, is going to be there as a chaperone.  They both 
need costumes, and my husband wants something special.  The school 
suggests dark pants, white baggy shirt, long white knee socks, coat/vest 
optional.  However, Brian has done some research on the pants and think 
khaki or other light colored pants would be best.  Also, he wants me to 
take a pair of pants and make him some breetches.  He wants a vest too, 
but he says it has to be sewn because modern vests won't work.  Plus 
they want hats (he's found a web source).
...
I can sew some, but I'm not sure I could make a vest, say, without a 
pattern.  But I could do it if I had a pattern.  I was hoping I could 
take a shirt and then modify that. 

The encampment happens next Thursday, so I don't have a lot of time.

Rachel is going to go as a soldier.

Brian has ordered 2 hats, a shirt for him, and socks for him.  I thought
that Rachel could wear her tan capri pants.  If possible, I could do a
vest for each of them, and modify some khakis to make breeches for Brian.  
So those are probably the items that I want advice on.
>>

I'll forward any suggestions on to her.

Thanks, folks!

--Robin


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] image bank of Lyon
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Dear list
There must be many of you who would be interrested in this.
Musee de Tissus in Lyon has opened an image bank with more than 40000
pictures of silks textiles, embroideries and the like. You have to pay to
get the large images about 85 euros for a month. They opened this image bank
and you can se more than 300 examples but only small images i am afraid.
If any of you are going to pay, please let me know how the quality is and if
you can download them. I would be very interrested for my embroidery.
http://www.banque-images.com/fr/Frame/Espace_Visiteur.htm
Have fun!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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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] Re: colonial house
Date: Fri, 21 May 2004 15:06:48 -0400
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I understand this.  However, my 'New England' upbringing always made a point
about them being just a little 'different'. Like spooning soup...toward you
or away from you, to be proper.Even with the same bounds of religiosity, we
were told that they were Not quite the same thing.I find that from a Britt's
point of view that they were considered to be the Same.
Kathleen
----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Friday, May 21, 2004 9:23 AM
Subject: Re: [h-cost] Re: colonial house


> Difference? I was trying to explain that the Pilgrims and Roundheads
> were both part of the *same* Puritan movement...
>
> Kate Bunting
> Library, University of Derby
>
> >>> rmitchell@washjeff.edu 21/05/2004 12:42:56 >>>
> Thank you very much, Kate.  This
> is the clearest explanation of the difference between the two groups
> that I
> have seen.
> Kathleen----
> _______________________________________________
> h-costume mailing list
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yes it is confusing.  Sometimes I don't know why one term is used over
another.   as far as I know, a gore is narrow at one end and wide at the
other.  a gusset is inserted in the middle of a seam.   however, it
seems you are saying there is some other criteria, which I would be
interested in knowing.   I am not a professionally trained seamstress,
so I have to learn this stuff as I can.   

Kitty

Lavolta Press wrote:
> 
> The terms "gores" and "gussets" are somewhat confusing when applied to
> corsets, because in original 19th-century terminology what we now would
> call "gussets" are often called "gores."  Also somewhat confusing when
> applied to skirts, because in original 19th-century terminology
> rectangular sections are sometimes called "gores," particularly when
> some or all of the other skirt sections are shaped.
> 
> As I've said before, 19th-century fashion and sewing terminology is by
> no means consistent, and terms are by no means always used the way we
> now use them.
> 
> Fran
> Lavolta Press Books on Historic Costuming
> http://www.lavoltapress.com
> 
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Subject: Re: [h-cost] Rev war costume, need fast help
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In a message dated 5/21/04 1:38:28 PM Central Daylight Time, 
robin@shell.nightowl.net writes:
I'll forward any suggestions on to her.

Thanks, folks!

--Robin

There are a number of commercial patterns (Butterick, Simplicity, McCalls') 
now available for Revolutionary era garments, especially coats and vests.  

Personally, in this situation I'd probably rent him a costume.  He seems to 
have a whole bunch of specifications about what he wants, so I'd tell him to 
get out his credit card and go find it LOL.  But if she's handy with her sewing 
machine, getting the items made won't be hard.  I believe on another group (or 
maybe this one?) someone posted yesterday that JoAnn's has a $.99 pattern 
sale going on at the moment.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Are you making a satchel to take marketing, or referring to the small purse
with rings that will close the ends of the 'miser's purse popular from the
late 1840's.  This was a tube of knitted silk; it sometimes incorporated
Steele or ceramic beads. It too had a center slit to be closed by the afro
mentioned rings.
Kathleen
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 10:15 AM
Subject: Re: [h-cost] Market wallets?


> how does it close?   where did you find the pattern or description of
> how to make it?   it sounds similar to some japanese bags I have seen
> patterns for.   Kitty
>
> Lauren Walker wrote:
> >
> > Hello,
> > I'm making an 18th-century style "market wallet" -- a sort of two-ended
bag
> > that opens through a slit in the middle. I've seen them referred to in
the
> > early 19th century, too, but has anybody got any idea how far back they
go?
> > Such a functional design could easily be quite old, but then again,
maybe
> > not.
> >
> > Any thoughts?
> > Thanks,
> > Lauren
> >
> > _______________________________________________
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> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
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Subject: Re: [h-cost] Colonial House
Date: Fri, 21 May 2004 15:17:24 -0400
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Re John Proctor, my daughter who has been doing genealogy found a lot of
interesting stuff in historical documents held by the town of Danvers, Ma.
Good luck,
Kathleen
----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 10:42 AM
Subject: RE: [h-cost] Colonial House


>
>
> Thank you Catherine for making the point about the instruction books for
> living. Possibly were not more how life was lived than Martha Stewart et.
> al. books. Also have always wondered about all the books and pampletes and
> preaching(just about in every belief system)for females to be "chaste,
> silent, and obedient." It would have been an expensive waste of paper,
ink,
> and printing press to supply all this information and advice to the
> "converted", so to speak.  Except all the how-tos and recipes for food and
> medicine are most instructive to us today.
>
> To be off-topic, I've been researching the Salem witchcraft episode off
and
> on for years with the aim of writing a historically correct novel. I've
> always been most interested in the real John Proctor family, as opposed to
> Arthur Miller's interpretation, as the real family was far more
> interesting!As well as Mary Warren who disappeared from surviving history
> records at the end of the trials. Also, as part of my research, are there
> any wills or family inventories as to what the Salem village families wore
> in 1692? Modern history tends to put everyone in the Pilgrim and Puritan
> styles of 60-70 years earlier. But someone like Elizabeth Proctor I see
> wearing more like a mantua, at least for Sabbath best. How far would a
> fairly wealthy family, rural but with ties to the seacost town of
Salem(the
> Proctors attended the Salem Town meetinghouse, not the one Salem Village?
>
> Cindy Abel
>
>
>
> I have found it very interesting how many of the folks on this list
> trace their ancestory back to this time.  One branch of my family, the
> Lewis', also came over the pond in the early 1620's with one of the
> first Methodist colonies in Massachusetts.
>
> While I wish they would be more accurate I still enjoy the 'House'
> series.  I'm not sure I would do all that much better than some of the
> folks in the series but it would be fun to try.  I do kind of wonder
> however why the Powers-that-be for these series tend to take books from
> this time on 'how life should be lived' so seriously (I am thinking, in
> particular, of the book on housekeeping that was used in the 1900 House
> series).  My impression has always been that these were just one way of
> living that *someone* felt needed to be reinforced with written
> instructions.  If everyone was really living this way, no book would
> have been required :).
>
> The corsets are starting to drive me nuts on Colonial House, why the
> heck did they not make them so the straps would stay up!!!!
>
> Catherine
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From h-costume-bounces@indra.com  Fri May 21 15:14:53 2004
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Hi
The new Simplicity patterns (OK so All of the SImplicity patterns) 
are on sale for 99 cents this weekend--I just got 1 out of the 3 
copies they had in the Belair Joanns of the CW men's patterns...
Just be sure you check the price--it is not in the computer yet!
Ta
Carol
-- 
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At 12:04 PM -0600 5/21/04, h-costume-request@indra.com wrote:
>The corsets are starting to drive me nuts on Colonial House, why the
>heck did they not make them so the straps would stay up!!!!

In the interview with the Washington Times, they mentioned that they 
loosened the stays fairly early on....bet that had a LOT to do with 
it!
Ta
Carol--mystery solved on the weird look to the fit.
-- 
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tailor's
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Do you have any evidence of either term being used in the 12th century? 
My dictionary lists "tailor" as "C13", but of course no detail as to 
which end of the 13th century.  There is so much development going on in 
the 12th century, both in increasingly fitted garments and changes in 
the technology of textile production, leading to it becoming more of a 
profession and less part of the housework, I suspect those sort of 
distinctions were not fixed until a bit later.

Jean


otsisto <otsisto@socket.net> wrote
>In the 12 century, was the title "tailor" a male designation?
>
>Ex: Tailor = male sewer
>    Seamstress + female sewer
>
>Anyone know?
>
>De
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Do you have any evidence of either term being used in the 12th century? 
My dictionary lists "tailor" as "C13", but of course no detail as to 
which end of the 13th century.  There is so much development going on in 
the 12th century, both in increasingly fitted garments and changes in 
the technology of textile production, leading to it becoming more of a 
profession and less part of the housework, I suspect those sort of 
distinctions were not fixed until a bit later.

Jean


otsisto <otsisto@socket.net> wrote
>In the 12 century, was the title "tailor" a male designation?
>
>Ex: Tailor = male sewer
>    Seamstress + female sewer
>
>Anyone know?
>
>De
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Gores versus gussets
Date: Fri, 21 May 2004 14:30:36 -0500
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What I have been told and keep as a definition:
Gussets: are a square to rectangular piece of material that is of bias cut
that is inserted in places to give ease to the garment, such as under the
arm.
Gores: are triangular, quarter circle or half circle material (not
necessarily of bias cut) that is inserted to give the garment flare or space
in a garment.

De
-----Original Message-----
yes it is confusing.  Sometimes I don't know why one term is used over
another.   as far as I know, a gore is narrow at one end and wide at the
other.  a gusset is inserted in the middle of a seam.   however, it
seems you are saying there is some other criteria, which I would be
interested in knowing.   I am not a professionally trained seamstress,
so I have to learn this stuff as I can.

Kitty


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From: Dawn Jacobson <dme_maud@pacbell.net>
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Catherine wrote: 

> I have found it very interesting how many of the
> folks on this list
> trace their ancestory back to this time.  One branch
> of my family, the
> Lewis', also came over the pond in the early 1620's
> with one of the
> first Methodist colonies in Massachusetts.

My father's family came over on the York in 1690 and
settled in the New Jersey and Pennsylvania colonies;
my mother's family came over in the 1730s and settled
in the Pennsylvania colony.

I'm curious about Methodist colonies in Massachusetts,
especially in the early 1620s, as John Wesley wasn't
born until 1703, and was an ordained CoE missionary
when he arrived in the Georgia colony in 1736. The
Methodist movement is considered to have its roots in
the transforming religious experiences of John and
Charles Wesley in May 1738, after they had returned to
England from the Georgia colony.

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Senor Pedro Alvarez de Toledo ,Virrey de Napoles.

Who am I?

=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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Subject: Re: [h-cost] Gores versus gussets
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The "criteria" is that language changes over time.  What you cite below 
is modern terminology.  Nineteenth-century fashion and sewing 
terminology often differs from modern terminology, and also for 
different periods of the 19th century.  Nor is it always consistent, and 
this is true of many terms other than "gores" and "gussets."  For that 
matter modern fashion and sewing terminology is not always consistent.  
It's just that people are less confused by alternative modern terms 
because they know them already.  It is easier for people working with 
historic costume if they are aware of differences in terms.

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

Kitty Felton wrote:

>yes it is confusing.  Sometimes I don't know why one term is used over
>another.   as far as I know, a gore is narrow at one end and wide at the
>other.  a gusset is inserted in the middle of a seam.   however, it
>seems you are saying there is some other criteria, which I would be
>interested in knowing.   I am not a professionally trained seamstress,
>so I have to learn this stuff as I can.   
>
>Kitty
>
>Lavolta Press wrote:
>  
>
>>The terms "gores" and "gussets" are somewhat confusing when applied to
>>corsets, because in original 19th-century terminology what we now would
>>call "gussets" are often called "gores."  Also somewhat confusing when
>>applied to skirts, because in original 19th-century terminology
>>rectangular sections are sometimes called "gores," particularly when
>>some or all of the other skirt sections are shaped.
>>
>>As I've said before, 19th-century fashion and sewing terminology is by
>>no means consistent, and terms are by no means always used the way we
>>now use them.
>>
>>Fran
>>Lavolta Press 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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>
>
>  
>

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Subject: [h-cost] Re: Colonial House
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I'm curious about Methodist colonies in Massachusetts,
especially in the early 1620s, as John Wesley wasn't
born until 1703, and was an ordained CoE missionary
when he arrived in the Georgia colony in 1736. The
Methodist movement is considered to have its roots in
the transforming religious experiences of John and
Charles Wesley in May 1738, after they had returned to
England from the Georgia colony.

Dawn
>>>>>>>>>>>>>>>>>>>

Ooops, my bad.  I know part of the family came over from Kent in the
1620's, and where they settled was a Methodist Colony but I had
assummed, obviously incorrectly, that was all at the same time. 
Obviously I am not the sibling doing the geneology research :).  Thanks
for the information, it will be interesting to do more research on their
reasons for coming over so early.

Catherine
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lloyd Mitchell
Sent: Friday, May 21, 2004 2:17 PM
To: Historical Costume
Subject: Re: [h-cost] Colonial House

Kathleen:

Does your daughter have an email address and would be willling to share some
info she has found in Danvers? Has she been to Salem and are there any
sources of 17th costume history at either Danvers or Salem?

I live in Omaha NE and will not be able to get enough time off work to
travel to Danvers any time soon.

Many thanks!

Cindy Abel

Re John Proctor, my daughter who has been doing genealogy found a lot of
interesting stuff in historical documents held by the town of Danvers, Ma.
Good luck,
Kathleen


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I live in Oswego NY. We have this really great Victorian are home that is now a museum. I with a friend took the tour. Why am I foaming at the mouth?

Well did you know Victorian women wore 11 pounds of underwear? Did you know they were so off balanced they kept their elbows on the table? Did you know that they had deformed bodies thanks to corsets? 

I'm so livid I'm shaking.

Bice
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In a message dated 5/21/2004 1:03:49 PM Eastern Standard Time, 
elvestoorder@yahoo.com writes:

> pendantic.

You mean pedantic??

;-)
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Bice wrote:
> Well did you know Victorian women wore 11 pounds of underwear? Did
> you know they were so off balanced they kept their elbows on the
> table? Did you know that they had deformed bodies thanks to corsets?

Time to write a letter with citations to the contrary.

I wonder how they danced if they were so off balance!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Subject: Re: [h-cost] Gores versus gussets
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In a message dated 5/21/2004 3:31:09 PM Eastern Standard Time, 
otsisto@socket.net writes:

> Gussets: are a square to rectangular piece of material that is of bias cut
> that is inserted in places to give ease to the garment, such as under the
> arm.
> Gores: are triangular, quarter circle or half circle material (not
> necessarily of bias cut) that is inserted to give the garment flare or space
> in a garment.
> 
> De
> 

Interesting.

I always think of gussets as being used to make something fit....like on a 
bodice. But I also always referred to the football shaped piece set in under the 
arm as a gusset.

Gores I always think of for adding fullness, like at the bottom of a skirt or 
tunic....but with the grain running more or less down the center of the 
triangular/trapazoidal piece. As opposed to a piece that runs the same grain as the 
piece it's being sewn to and is an added piece to complete a garment pattern 
piece that is bigger than the fabric's width. Or a bias triangular piece to 
add fullness, which I call a godet.

Terms! Yikes!
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In a message dated 5/21/04 4:25:50 PM Central Daylight Time, 
wantstobecorsetted1@hotmail.com writes:
I'm so livid I'm shaking.

Bice

Does the museum have any sort of website that could be used to send some 
correctional information to whoever writes their tour scripts?

I can relate.  I tend to see stars every time I hear someone say that Henry 
VIII was a gross fat man who had 8 wives and killed them all.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Bice wrote:

> I live in Oswego NY. We have this really great Victorian are home that is now a museum. I with a friend took the tour. Why am I foaming at the mouth?
> 
> Well did you know Victorian women wore 11 pounds of underwear? Did you know they were so off balanced they kept their elbows on the table? Did you know that they had deformed bodies thanks to corsets? 
> 

If it's anything like the one costume exhibit I saw locally a few months 
back the little old lady volunteer is working off the single 50 year old 
costume book that hasn't been stolen from the town library and they just 
don't have better researchers or sources to use.

Time for some gentle education, I think.



Dawn



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From h-costume-bounces@indra.com  Fri May 21 18:22:34 2004
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Subject: Re: [h-cost] Foaming at the mouth
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What would your guestimate be of the actual average weight of Victorian underware, I assume pre crinoline?

Lisa 

---------- Original Message ----------------------------------
From: "Bice" <wantstobecorsetted1@hotmail.com>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Fri, 21 May 2004 17:23:07 -0400

>I live in Oswego NY. We have this really great Victorian are home that is now a museum. I with a friend took the tour. Why am I foaming at the mouth?
>
>Well did you know Victorian women wore 11 pounds of underwear? Did you know they were so off balanced they kept their elbows on the table? Did you know that they had deformed bodies thanks to corsets? 
>
>I'm so livid I'm shaking.
>
>Bice
>=============================
>http://kristalori.com or http://swapking.com/hats/
>http://www.livejournal.com/users/jaie
>=============================
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
 
             
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From: "Bice" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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No website. None to speak of anyhow. I'm so damn disgusted. I do have a
friend I'm waiting to hear from who is of the local aristocracy and I'm
hoping she knows someone who is a director there. They need a class on
Victorian clothing. I'm still rapid over this. Granted I don't know
*everything* about this era but this era was my thing before I got into
medieval era clothing. This man pushing 80 who just spouted out a fount of
misinformation pointing to lovely paintings of women on the beach and
playing cards citing them leaning on tables because they needed to balance
themselves. ARGH!!!!!!
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================

----- Original Message ----- 
Time to write a letter with citations to the contrary.

I wonder how they danced if they were so off balance!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

----- Original Message ----- 
From: <Tiffsewsstuff@aol.com>
To: <h-costume@indra.com>
Sent: Friday, May 21, 2004 5:50 PM
Subject: Re: [h-cost] Foaming at the mouth


> In a message dated 5/21/04 4:25:50 PM Central Daylight Time,
> wantstobecorsetted1@hotmail.com writes:
> I'm so livid I'm shaking.
>
> Bice
>
> Does the museum have any sort of website that could be used to send some
> correctional information to whoever writes their tour scripts?
>
> I can relate.  I tend to see stars every time I hear someone say that
Henry
> VIII was a gross fat man who had 8 wives and killed them all.
>
> -Tiffany
> Non vestimentum virum ornat, sed vir vestimentum.
> *******************************
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uhh... **blink...blink**  (insert incredulous stare)

Yes,  I would say some serious education would not be too soon...Any one
here up to the challenge?  It's not my period, but wow!

Emer \ Gia

__________________
Well did you know Victorian women wore 11 pounds of underwear? Did you know
they were so off balanced they kept their elbows on the table? Did you know
that they had deformed bodies thanks to corsets?

I'm so livid I'm shaking.

Bice
=============================
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http://www.livejournal.com/users/jaie
=============================
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>Senor Pedro Alvarez de Toledo ,Virrey de Napoles.
>
>Who am I?

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dollmaker, fibre artist, textillian
         www.FunStuft.com

             //// \\\
            ////-@@\\\
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               )   ((((((
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To: Historical Costume <h-costume@indra.com>
From: leigh tartaglio <mikes@dandy.net>
Subject: Re: [h-cost] Re: colonial house
Date: Fri, 21 May 2004 18:55:45 -0400
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Hi, All. I am just getting back online after a little bit of computer 
probs. I was rather disappointed with Colonial House. The minister 
is worried about the word "crap", but all of his people are running 
around in their underwear! Be serious! They should all be whipped 
at the carttail for indecency. They made no attempt at a number of 
things that would have been regular occurrences in the period. They 
mostly tried to make it into a reality show without anyone learning 
a whole lot about the period, except for the immersion they got at 
Plimoth. No one is trying at all to live the "period life" if you 
will, but they are trying to force the period world to conform to 
their modern preconceptions and values, especially the post-60s warm 
and fuzzy historical rewrties. The eyeglasses are jarring, they should 
have done something else. One other thing that should raise a firestorm,
but in my remembrance, even the late great Janet Arnold wasn't convinced 
of the universality of wearing boned stays, especially among the 
working classes, at this period. If it weren't for some of the more 
interesting bits, I'd turn the whole sad thing off. I have a large 
event in a few weeks, I can't wait to spend the day talking "Colonial 
House" with the punters. Oh, Well!  Cheers, Mike T. 



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From h-costume-bounces@indra.com  Fri May 21 19:36:35 2004
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	<HiXX+EJPclrAJwov@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tailor's
Date: Fri, 21 May 2004 19:35:45 -0400
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Greetings

> Do you have any evidence of either term being used in the 12th century?
> My dictionary lists "tailor" as "C13", but of course no detail as to
> which end of the 13th century.

Definitely by 1264.  The accounts of Eleanor, Countess of Leicester include
several references to "Hick the Tailor," who made a number of trips to
London on her behalf to acquire cloth, as well as repairing and making
clothing for her.

Susan

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Subject: Re: [h-cost] Tailor's
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Greetings--

> Do you have any evidence of either term being used in the 12th century?
> My dictionary lists "tailor" as "C13", but of course no detail as to
> which end of the 13th century.

Oh, forgot another reference.  I did a survey of personal names in Essex
documents from 1189-1272 a few years ago, and also recorded some of the
personal names.  While I don't have the actual source right at hand, the
surname or occupational name "le Taillur/Tayllur/Taylor" does appear during
this period. No clue as to male or female--but the term certainly exists at
this point.  The fact that it's used with the masculine "le" may be a
marker, although surnames are in flux at this point, moving from being
occupational bynames to inherited ones.

Susan

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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Simplicity Sale MD area...
Date: Fri, 21 May 2004 20:23:30 -0400
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I was at JoAnn's today, and Simplicity was the only pattern company NOT on
sale for 99cents or 75% off(Vogue).  Where is the sale???
-Megan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of fastusminimus
Sent: Friday, May 21, 2004 3:14 PM
To: h-costume@indra.com
Subject: [h-cost] Re: Simplicity Sale MD area...


Hi
The new Simplicity patterns (OK so All of the SImplicity patterns)
are on sale for 99 cents this weekend--I just got 1 out of the 3
copies they had in the Belair Joanns of the CW men's patterns...
Just be sure you check the price--it is not in the computer yet!
Ta
Carol
--
Creative Clutter is Better Than Idle Neatness!
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Uh.... Zorro?

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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Colonial House series
Date: Fri, 21 May 2004 18:43:56 +1000
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----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 20, 2004 11:54 PM
Subject: Re: [h-cost] Re: Colonial House series


> Yes, we did get Edwardian House--it's one of my favorites.  I've seen it
> two or three times, now--my station occasionally does it as reruns,
> along with the Iron Age one, and one done in Canada with homesteaders.
> Haven't seen 1900 House or the new one done in Jane Austin's day yet,
> though.  Local station made a fairly big deal about Pioneer House,
> because it was filmed locally (well, relatively locally, Montana's a big
> state).
> --sue
>
Well you can expect an offering from Australia called 'outback house'
sometime in the future (rather similar to frontier house, it's set during
the 19th century expansion of European colonisation towards the centre of
the continent), the recruiting process began around February-March, so it
will be a while before it hits the TV screens here let alone over there, it
certainly will be interesting to see if there are any differences, as there
will be a cultural difference but a similar setting.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Subject: Re: [h-cost] Simplicity's corset patterns
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----- Original Message -----
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, May 22, 2004 1:21 AM
Subject: Re: [h-cost] Simplicity's corset patterns


> In a message dated 5/21/2004 10:34:01 AM Eastern Standard Time,
> basyefelton@floodcity.net writes:
>
<snip> Personally, every corset, regardless of cut, looks better on someone
who has
> some flesh to move around.

Actually I found that really funny about the fashion for corset about a year
or 2 ago, the supermodels walking down the catwalk looked dreadful because
you can't move around skin and bone.*g*
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Subject: [h-cost] Re: Rev war costume, need fast help 
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I'm glad I know something about this one. I've used the Simplicity 5958
Costume pattern. The vest goes together easily. If your friend has a serger,
her life will be much easier. I attach the lining, to each individual piece,
on the outside edges (non-seams) Press the snot out of it so that it behaves
like a single piece of fabric again. Serge the seam edges. Then stitch
together. It looks good, and goes together quickly. It's also easier to
alter (yes, the vest looks better and more authentic if it's fitted a little
closer then illustrated) Based on the photos I've seen of vests and coats
from that time, I don't think the pattern has enough buttonholes and have
added 5 more, changing the spacing accordingly. A stiffer material for the
fashion layer (and carry it around to the back as well) and a heavy weight
for the lining look best to me, but that could be my bias, as it's not based
on research.

I'm currently making another vest from the pattern for myself this time. And
I'm doing enough embroidery on it to make it fear for its life. I'm using a
medium weight upholstery brocade and embroidering over the pattern, down the
front and along the bottom, with heavier embroidery at the bottom of the
front opening.

There's a group of more authentic patterns for this, but I've found the
armholes, while probably authentic, are seriously binding.

Hope this helps her,
Bob Dorr


> Message: 2
> Date: Fri, 21 May 2004 13:38:52 -0500 (CDT)
> From: Robin Netherton <robin@shell.nightowl.net>
> Subject: [h-cost] Rev war costume, need fast help
> To: Historic Costume List <h-costume@indra.com>
> Message-ID:
> <Pine.LNX.4.10.10405211333460.26720-100000@shell.nightowl.net>
> Content-Type: TEXT/PLAIN; charset=US-ASCII
>
>
> An e-friend of mine in California asked me for advice on something that's
> so far out of my period I have no clue what to tell her. So I'm asking you
> folks.
>
> Her message is below, with some further elaboration based on my questions
> to her. She needs to be able to adapt materials-on-hand for husband and
> child (age 10) on short notice, for a one-shot deal, so accurate kit is
> not required, just something that has basically the right look.
>
> Her message:
>
> <<
> My daughter is doing a Revolutionary War reenactment next week at school
> and my husband, Brian, is going to be there as a chaperone.  They both
> need costumes, and my husband wants something special.  The school
> suggests dark pants, white baggy shirt, long white knee socks, coat/vest
> optional.  However, Brian has done some research on the pants and think
> khaki or other light colored pants would be best.  Also, he wants me to
> take a pair of pants and make him some breetches.  He wants a vest too,
> but he says it has to be sewn because modern vests won't work.  Plus
> they want hats (he's found a web source).
> ...
> I can sew some, but I'm not sure I could make a vest, say, without a
> pattern.  But I could do it if I had a pattern.  I was hoping I could
> take a shirt and then modify that.
>
> The encampment happens next Thursday, so I don't have a lot of time.
>
> Rachel is going to go as a soldier.
>
> Brian has ordered 2 hats, a shirt for him, and socks for him.  I thought
> that Rachel could wear her tan capri pants.  If possible, I could do a
> vest for each of them, and modify some khakis to make breeches for Brian.
> So those are probably the items that I want advice on.
> >>
>
> I'll forward any suggestions on to her.
>
> Thanks, folks!
>
> --Robin


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Subject: [h-cost] Catching up - was Colonial House series.
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I'm sorry for the delay, my email access it being a bit hinky lately...

Let's see -- my ancestors -- if memory serves the 4 were 4 men and 1 woman, 
2 convictions, 2 acquittals.  Of the convictions, Mary Sanford was hung, and 
James Wakely escaped to spend the next 20 years trying to divorce his wife 
(when he was convicted all his property was confiscated, since he didn't die 
she couldn't remarry).  The accquitals were Andrew Sanford and William 
Meeker.

I was under the impression that Goodie Bassett was hung in Stratford in 
1651.  OTOH, Stratford is in Fairfield County, and I tend to think of is as 
a separate place from Fairfield proper, but I bet it isn't any more :)

My information has Mary Staples being acquitted and her accuser Robert 
Ludlow being fined 20 Pounds for defamation - since that was -also- a crime; 
but yes, I misspoke.

===================
Just as an amusing aside, according to the Middle English Dictionary, a 
"Gore" is a an inlet, like a long thin bay, and a triangular insert of 
material in clothing :)

Marc

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Subject: Re: [h-cost] Gores versus gussets
Date: Fri, 21 May 2004 22:42:16 -0400
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My understanding has been that gussets are enclosed in a seam and that gores
are open-ended. I realize that even these definitions will change according
to the garment that needs to be 'vented'.
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 4:23 PM
Subject: Re: [h-cost] Gores versus gussets


> The "criteria" is that language changes over time.  What you cite below
> is modern terminology.  Nineteenth-century fashion and sewing
> terminology often differs from modern terminology, and also for
> different periods of the 19th century.  Nor is it always consistent, and
> this is true of many terms other than "gores" and "gussets."  For that
> matter modern fashion and sewing terminology is not always consistent.
> It's just that people are less confused by alternative modern terms
> because they know them already.  It is easier for people working with
> historic costume if they are aware of differences in terms.
>
> Fran
> Lavolta Press Books on Historic Costuming
> http://www.lavoltapress.com
>
> Kitty Felton wrote:
>
> >yes it is confusing.  Sometimes I don't know why one term is used over
> >another.   as far as I know, a gore is narrow at one end and wide at the
> >other.  a gusset is inserted in the middle of a seam.   however, it
> >seems you are saying there is some other criteria, which I would be
> >interested in knowing.   I am not a professionally trained seamstress,
> >so I have to learn this stuff as I can.
> >
> >Kitty
> >
> >Lavolta Press wrote:
> >
> >
> >>The terms "gores" and "gussets" are somewhat confusing when applied to
> >>corsets, because in original 19th-century terminology what we now would
> >>call "gussets" are often called "gores."  Also somewhat confusing when
> >>applied to skirts, because in original 19th-century terminology
> >>rectangular sections are sometimes called "gores," particularly when
> >>some or all of the other skirt sections are shaped.
> >>
> >>As I've said before, 19th-century fashion and sewing terminology is by
> >>no means consistent, and terms are by no means always used the way we
> >>now use them.
> >>
> >>Fran
> >>Lavolta Press 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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> >
> >
> >
> >
>
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on 5/21/04 2:03 PM, kelly at h-costume-request@indra.com wrote:

> and  Amish
> The Amish broke off from the Mennonites though while still in Europe.

Hey, that's a show i'd like to see! "Amish House!"

I guess you couldn't film it, though.

Gail Finke


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <FOEDLIJMMAMODKMIIIMKKEMADEAA.brujne@creighton.edu>
Subject: Re: [h-cost] RE : OT-Proctor family
Date: Fri, 21 May 2004 22:50:21 -0400
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I will ask my daughter what the major sources were re costume and genealogy
stuff.  I vaguely remember that she had to subscribe to the 'library' or
archives to access some of the material.  But that it is available on line.
Also, the Mormon archives have a lot of stuff on line now, that may be
usable for your project.  It may cost you a membership, but I think it would
be worth it...certainly cheaper that actual travel.
kathleen
----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 4:25 PM
Subject: [h-cost] RE : OT-Proctor family


>
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lloyd Mitchell
> Sent: Friday, May 21, 2004 2:17 PM
> To: Historical Costume
> Subject: Re: [h-cost] Colonial House
>
> Kathleen:
>
> Does your daughter have an email address and would be willling to share
some
> info she has found in Danvers? Has she been to Salem and are there any
> sources of 17th costume history at either Danvers or Salem?
>
> I live in Omaha NE and will not be able to get enough time off work to
> travel to Danvers any time soon.
>
> Many thanks!
>
> Cindy Abel
>
> Re John Proctor, my daughter who has been doing genealogy found a lot of
> interesting stuff in historical documents held by the town of Danvers, Ma.
> Good luck,
> Kathleen
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Fri May 21 23:01:48 2004
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Date: Sat, 22 May 2004 11:00:12 -0400
Subject: Re: [h-cost] Foaming at the mouth
From: Lauren Walker <lauren.walker@comcast.net>
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When I was working on a degree in Popular Culture Studies, one of our
professors (I think the one who was on the board at Williamsburg) just
repeated over and over again, "Don't listen to docents. They're very nice,
but they are almost always volunteers with no training, and nothing they say
can be counted upon." His favorite example was being told that a
Federal-period house was built with wide interior doorways to accommodate
crinolines, which, of course, were not in style for another 30 years.

While I sympathize utterly with your froth, I do find this mantra has
allowed me to visit more historic houses without committing assault or
having a heart attack. "They're nice, they mean well, they don't know
anything. They're nice, they mean well, they don't know anything. They're
nice, they mean well..."

Lauren


> From: "Bice" <wantstobecorsetted1@hotmail.com>

> I live in Oswego NY. We have this really great Victorian are home that is now
> a museum. I with a friend took the tour. Why am I foaming at the mouth?
> 
> Well did you know Victorian women wore 11 pounds of underwear? Did you know
> they were so off balanced they kept their elbows on the table? Did you know
> that they had deformed bodies thanks to corsets?
> 
> I'm so livid I'm shaking.

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Simplicity Sale MD area...
References: <BFEHIMCIGHOOMKCFPMCEOENGJFAA.megan@benchite.com>
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Megan M. wrote:

> I was at JoAnn's today, and Simplicity was the only pattern company NOT on
> sale for 99cents or 75% off(Vogue).  Where is the sale???
> -Megan

According to my sale flyers Butterick and McCall's are 99 cents this 
weekend at Joann's with Vogue 75% off. McCall's are $1.99 at Hancock's.

Memorial Day weekend the sale at Joann's is 99 cent Simplicity.

June 3-5 Butterick and McCall's are on sale again at Joann's. Vogue is 
75% off.


I encourage folks to get on the mailing list for both stores. You can 
also visit their websites and view the sale flyers online.



Dawn




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Subject: Re: [h-cost] Market wallets?
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Hi, Kitty, Hi,  Kathleen,
The wallet closes by being twisted in the middle, sort of the way my cousin
used to make diapers small enough for her newborn son by twisting the part
that went betwixt his teensy legs. The thing I find spiffy about the market
wallet is that the opening is just a lengthwise slit; it gets closed in use
by the twist and going over the shoulder.

My wallet is about 14" wide by about 40" long. Didn't find or use a pattern,
but modeled it off of this one:

http://www.18cnewenglandlife.org/18cNEL/wallets.htm#Market%20Wallet

modified to fit my gear and my height and the size of the piece of hemp
canvas I had.

As you can see from the picture, the wallet has one long seam, down the
middle of one face,  and two short ones, across the ends -- an amazingly
utilitarian design. I think in original ones, the seam with the slit was
probably selvedge, and may have been left unfinished, but the piece of cloth
I used had unfinished selvedges, so I hemmed the slit. Actually due to the
shape of my fabric, I used the selvedeges for the short ends, so I had to
hem the slit anyway. I used flat-fell seams and a heavy, doubled waxed
thread; by the end I was wishing for a sailmaker's leather palm. But I
wanted something that would look, and with luck actually BE, rugged.

Lauren




> From: Kitty Felton <basyefelton@floodcity.net>

> 
> how does it close?   where did you find the pattern or description of
> how to make it?   it sounds similar to some japanese bags I have seen
> patterns for.   Kitty

>From Kathleen/Lloyd Mitchell <rmitchell@washjeff.edu>

> Are you making a satchel to take marketing, or referring to the small purse
> with rings that will close the ends of the 'miser's purse popular from the
> late 1840's.  This was a tube of knitted silk; it sometimes incorporated
> Steele or ceramic beads. It too had a center slit to be closed by the afro
> mentioned rings.
> Kathleen

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In a message dated 5/21/2004 11:02:18 PM Eastern Standard Time, 
lauren.walker@comcast.net writes:
Don't listen to docents. They're very nice,
but they are almost always volunteers with no training, and nothing they say
can be counted upon." 
Ahem!!! Our docents do receive training, and I started as a docent. But 
still, I sometimes hear my very own docents say things that make me shudder and 
wonder where in the world they got that from--not from the training, I know. I 
don't train them myself, but I know the training they get.
Ann Wass
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Subject: [h-cost] Re: JoAnn's pattern sales
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I've found that different stores/regions have their sales at different
times, at least as far as the JoAnn's chain goes. Go to their website and
look up the flyers by your store location to be absolutely sure what's on
sale when!

Allison T.

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A guess for this era? Well we are talking 1875 to 1890 for the main theme of
this house or so I'd say maybe lbs. if that. Underwear was not as
complicated as the average layman would have you think. Yeah some of those
bustles could get heavy but they were not an everyday thing. I've never seen
a really heavy corset and I have seen a LOT of extant to this era ones.
Backless drawers (which he had never even heard of) cut down on potty
issues. A chemise possibly a corset cover. The heaviest part to this era was
the dress and even then that wasn't daily. Women in this house didn't run
around in 50lbs of velvet all day. Wrappers for morning the occasional
bombazine afternoon gown and it was upper middle class and they didn't throw
parties often so I find it unlikely that there were too many heavy velvet
ball gowns. The one woman Harriet who was a divorced daughter in the 1880's
with one son had migraines and mental problems. She didn't receive. She
could have very likely have kept to very basic clothing. The mother was
fashionable and married around 1850 so by the time the 1880's rolled around
she probably wasn't as involved in fashion anymore.
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----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 6:19 PM
Subject: Re: [h-cost] Foaming at the mouth


> What would your guestimate be of the actual average weight of Victorian
underware, I assume pre crinoline?
>
> Lisa
>
> ---------- Original Message ----------------------------------
> From: "Bice" <wantstobecorsetted1@hotmail.com>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date:  Fri, 21 May 2004 17:23:07 -0400
>
> >I live in Oswego NY. We have this really great Victorian are home that is
now a museum. I with a friend took the tour. Why am I foaming at the mouth?
> >
> >Well did you know Victorian women wore 11 pounds of underwear? Did you
know they were so off balanced they kept their elbows on the table? Did you
know that they had deformed bodies thanks to corsets?
> >
> >I'm so livid I'm shaking.
> >
> >Bice
> >=============================
> >http://kristalori.com or http://swapking.com/hats/
> >http://www.livejournal.com/users/jaie
> >=============================
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
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I tried that. I really did. I kept saying he's old he doesn't know any
better he's doing the best he can. Then he made a remark about corsets and
reproduction organs and I simply walked out of the room to catch my breath
and temper. There were other appalling faux pas that I'm just disturbed
over. They take classes through this place!! And this area is a very
cliquish sort of place so I doubt I can even get an "in" to even teach a
class. As I said before I'm not in the realm of knowledge of some of ladies
here but at least I know that compared to this guy I'm a freaking genius.
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=============================
----- Original Message ----- 
From: "Lauren Walker" <lauren.walker@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 11:00 AM
Subject: Re: [h-cost] Foaming at the mouth


> When I was working on a degree in Popular Culture Studies, one of our
> professors (I think the one who was on the board at Williamsburg) just
> repeated over and over again, "Don't listen to docents. They're very nice,
> but they are almost always volunteers with no training, and nothing they
say
> can be counted upon." His favorite example was being told that a
> Federal-period house was built with wide interior doorways to accommodate
> crinolines, which, of course, were not in style for another 30 years.
>
> While I sympathize utterly with your froth, I do find this mantra has
> allowed me to visit more historic houses without committing assault or
> having a heart attack. "They're nice, they mean well, they don't know
> anything. They're nice, they mean well, they don't know anything. They're
> nice, they mean well..."
>
> Lauren
>
>
> > From: "Bice" <wantstobecorsetted1@hotmail.com>
>
> > I live in Oswego NY. We have this really great Victorian are home that
is now
> > a museum. I with a friend took the tour. Why am I foaming at the mouth?
> >
> > Well did you know Victorian women wore 11 pounds of underwear? Did you
know
> > they were so off balanced they kept their elbows on the table? Did you
know
> > that they had deformed bodies thanks to corsets?
> >
> > I'm so livid I'm shaking.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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Date: Fri, 21 May 2004 18:43:44 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] article on early medieval embroidery stitches
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At 1:01 PM -0500 5/21/04, Althea Turner wrote:
>Greetings all,
>
>I have been looking through my notes for a citation on an article but can't
>find it.  It was on known embroidery stitches in northern europe 400-800 (ish)
>
>Does anyone know of such an article/website/book?  Am I going crazy and
>imagining the reference?  *laughs*

Any chance this is what you were thinking of?

http://www.cs.vassar.edu/~capriest/asvembroid.html


>Is there a similar article on seam/stitches?

My "archaeological sewing" article includes this era, although I 
don't recall offhand how many specific examples I have from that 
span.  There's a text-only version of if up on Cynthia Virtue's site 
at the moment, but I expect to have my own site up Real Soon Now 
(i.e., within a couple months) which will have the version with the 
figures.

Heather
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Date: Fri, 21 May 2004 18:49:49 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Market wallets?
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>Lauren Walker wrote:
>>
>>  Hello,
>>  I'm making an 18th-century style "market wallet" -- a sort of two-ended bag
>>  that opens through a slit in the middle. I've seen them referred to in the
>>  early 19th century, too, but has anybody got any idea how far back they go?
>>  Such a functional design could easily be quite old, but then again, maybe
>  > not.

I suspect you're talking about something purse-sized, but the same 
general structure on a much larger scale is seen in medieval art -- 
basically a long tube, closed off square at both ends, with a short 
lengthwise opening in the middle.  My guess is that it originated as 
a type of saddlebags, although you also see people carrying them over 
one shoulder.  They seem to be associated particularly with 
field-workers, pilgrims (or other travelers), and beggars.

But, as I say, I suspect you're asking about something much smaller, 
and I don't recall having seen medieval examples of that.

Heather
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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Simplicity's corset patterns
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Hi,
one more question (for now), for those that have used these patterns what
did you use for boning? are the boning channels straight enough to use flat
steels? or will I need spiral steel? The general consensus seems to be that
they turn out too big, for those that did find them too big did you check
your measurements against the pattern envelope, or did you just go with your
normal size? I just want to check if their printed measurements are off or
whether they are a different size to normal patterns.
Thanks
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
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----- Original Message -----
From: "Bice" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 8:53 AM
Subject: Re: [h-cost] Foaming at the mouth


> No website. None to speak of anyhow. I'm so damn disgusted. I do have a
> friend I'm waiting to hear from who is of the local aristocracy and I'm
> hoping she knows someone who is a director there. They need a class on
> Victorian clothing. I'm still rapid over this. Granted I don't know
> *everything* about this era but this era was my thing before I got into
> medieval era clothing. This man pushing 80 who just spouted out a fount of
> misinformation pointing to lovely paintings of women on the beach and
> playing cards citing them leaning on tables because they needed to balance
> themselves. ARGH!!!!!!
Really isn't that one of the cardinal rules of Victorian table manners,
_DON'T_ put your elbows on the table. The whole off balance thing is
something new to me, I've heard the 'underwear was heavy and deformed your
body' argument but "they couldn't keep their balance" is just so ludicrous I
can't even work out how somebody would come up with it. The other 2 are
loosely based on fact (there was more underwear than today, it was heavier,
and some women did tightlace to the extreme) but the whole, being so off
balance they couldn't even sit down without leaning on something is so
totally off base I can't even see where you would find it's origin.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Date: Fri, 21 May 2004 21:50:49 -0700
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Subject: Re: [h-cost] Market wallets?
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At 11:15 AM -0400 5/22/04, Lauren Walker wrote:
>Hi, Kitty, Hi,  Kathleen,
>The wallet closes by being twisted in the middle, sort of the way my cousin
>used to make diapers small enough for her newborn son by twisting the part
>that went betwixt his teensy legs. The thing I find spiffy about the market
>wallet is that the opening is just a lengthwise slit; it gets closed in use
>by the twist and going over the shoulder.
>
>My wallet is about 14" wide by about 40" long. Didn't find or use a pattern,
>but modeled it off of this one:
>
>http://www.18cnewenglandlife.org/18cNEL/wallets.htm#Market%20Wallet
>
>modified to fit my gear and my height and the size of the piece of hemp
>canvas I had.

Ah, ok, that _is_ the lineal descendent of the bags I was describing 
in my previous post.  I'm not having any luck finding examples 
on-line at the moment, but the examples I use as comparative material 
in my article on shepherds purses are:

- scene of reapers from Egerton MS 2019
- scenes of mowers and reapers from the Hours of Henry VIII
- travelers in an annunciation scene in frescos at Atri, Italy

I've found examples of the style at least as early as the 14th 
century, and they're fairly common in the 15-16th centuries.  (My 
research on this project doesn't go much beyond the 16th c. because 
the artifact I'm focusing on doesn't show up much beyond that.)

Heather
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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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----- Original Message -----
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 8:19 AM
Subject: Re: [h-cost] Foaming at the mouth


> What would your guestimate be of the actual average weight of Victorian
underware, I assume pre crinoline?
>
> Lisa

Well I just weighed my Elizabethan underwear (corset, smock and petticoat)
and it weighs somewhere between 1 and 2 lbs. (bathroom scales aren't that
accurate for small measures) I'd expect Victorian Underwear would be a
similar weight, extra petticoats or a steel crinoline would maybe up to
double that, but 11 lbs is way too much, that's heavier than all but a few
new-born babies!
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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That sounds *really* familiar...not to big, multi-story, with this sort 
of central opening? (almost like an atrium, but smaller?) Used to be 
somebody's home, IIRC?
--sue

Joan Jurancich wrote:
> At 10:37 PM 5/20/2004 -0600, you wrote:
> 
>> The one I saw was in Sacramento--I forget the name of the museum, but 
>> I'm sure there are others on the list who will remember for me.
>> And I got to see it *really* close--I was about 6 inches away from it, 
>> which was like being 6 inches away from the holy grail or something, 
>> at least for me <g>!

> Was it the Crocker Museum?
> 

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My guess is, they got limited instruction in how to wear them 
properly--it looked as if the costumers spent some time fitting the 
clothing properly, but I do remember at least one back view of one of 
the adult women, in which the back edges were several inches apart (more 
so towards the waist than the bust), which indicated to me that it was 
been worn too loosely.  I've never worn stays with shoulder straps on 
them, but I wonder if something like that could have an effect...
--sue

Catherine Kinsey wrote:

> I have found it very interesting how many of the folks on this list
> trace their ancestory back to this time.  One branch of my family, the
> Lewis', also came over the pond in the early 1620's with one of the
> first Methodist colonies in Massachusetts.
> 
> While I wish they would be more accurate I still enjoy the 'House'
> series.  I'm not sure I would do all that much better than some of the
> folks in the series but it would be fun to try.  I do kind of wonder
> however why the Powers-that-be for these series tend to take books from
> this time on 'how life should be lived' so seriously (I am thinking, in
> particular, of the book on housekeeping that was used in the 1900 House
> series).  My impression has always been that these were just one way of
> living that *someone* felt needed to be reinforced with written
> instructions.  If everyone was really living this way, no book would
> have been required :).
> 
> The corsets are starting to drive me nuts on Colonial House, why the
> heck did they not make them so the straps would stay up!!!!
> 

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Actually, some concepts about the body being deformed by corsets, and 
the excessive weight of underclothing and clothing in general, are 
derived (whether directly or at some remove) from Victorian publications 
on dress reform.   Whether such concepts were true or not, they had a 
significant number of adherents. 

For myself,  I find that the mantra "it's none of my business" frees me 
from any agony over what other people say and wear, whether they are 
museum docents or not.

Fran

>  
>
>>What would your guestimate be of the actual average weight of Victorian
>>    
>>
>underware, I assume pre crinoline?
>  
>
>>Lisa
>>    
>>
>
>  
>

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Naw.  Just a gross fat man who had 6 wives, and only killed some of them....
--sue (not too fond of the Tudors...d@mned upstarts! ;o)

Tiffsewsstuff@aol.com wrote:

> In a message dated 5/21/04 4:25:50 PM Central Daylight Time, 
> wantstobecorsetted1@hotmail.com writes:
> I'm so livid I'm shaking.
> 
> Bice
> 
> Does the museum have any sort of website that could be used to send some 
> correctional information to whoever writes their tour scripts?
> 
> I can relate.  I tend to see stars every time I hear someone say that Henry 
> VIII was a gross fat man who had 8 wives and killed them all.
> 

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From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: [h-cost] Foaming at the mouth
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You mean "rabid?" <g>
(interesting spoonerism, that!)
--sue

Bice wrote:

> No website. None to speak of anyhow. I'm so damn disgusted. I do have a
> friend I'm waiting to hear from who is of the local aristocracy and I'm
> hoping she knows someone who is a director there. They need a class on
> Victorian clothing. I'm still rapid over this.

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Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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When I used to wear Elizabethan, my unders (shift, steel-boned corset, 
farthingale and a weird multi-petticoat-on-one-waistband thing) were 
about 12 lbs.  25-30 lbs. for the whole outfit.  Most of the unders 
weight was the boning in the corset, and the petticoats which weighed 
almost 10 lbs. all by themselves.
So, obviously, mileage varies!
--sue

Elizabeth Walpole wrote:

> Well I just weighed my Elizabethan underwear (corset, smock and petticoat)
> and it weighs somewhere between 1 and 2 lbs. (bathroom scales aren't that
> accurate for small measures) I'd expect Victorian Underwear would be a
> similar weight, extra petticoats or a steel crinoline would maybe up to
> double that, but 11 lbs is way too much, that's heavier than all but a few
> new-born babies!


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Tailor's
Date: Sat, 22 May 2004 01:48:03 -0500
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Jean,

I seem to be getting double emails from you.

De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Jean Waddie
Sent: Friday, May 21, 2004 1:23 PM
To: Historical Costume
Cc: Historic Costume
Subject: Re: [h-cost] Tailor's


Do you have any evidence of either term being used in the 12th century? 
My dictionary lists "tailor" as "C13", but of course no detail as to 
which end of the 13th century.  There is so much development going on in 
the 12th century, both in increasingly fitted garments and changes in 
the technology of textile production, leading to it becoming more of a 
profession and less part of the housework, I suspect those sort of 
distinctions were not fixed until a bit later.

Jean


otsisto <otsisto@socket.net> wrote
>In the 12 century, was the title "tailor" a male designation?
>
>Ex: Tailor = male sewer
>    Seamstress + female sewer
>
>Anyone know?
>
>De
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-- 
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From: "otsisto" <otsisto@socket.net>
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Subject: RE: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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----- Original Message -----
> What would your guestimate be of the actual average weight of Victorian
underware, I assume pre crinoline?
>
> Lisa

Well I just weighed my Elizabethan underwear (corset, smock and petticoat)
and it weighs somewhere between 1 and 2 lbs. (bathroom scales aren't that
accurate for small measures) I'd expect Victorian Underwear would be a
similar weight, extra petticoats or a steel crinoline would maybe up to
double that, but 11 lbs is way too much, that's heavier than all but a few
new-born babies!
Elizabeth


Whether it is 10lbs. or 15lbs., It comes down to "Ladies, do you find
yourself off balanced when you wear you under garments"?

Maybe they had their corsets to tight and had to lean for support cause they
could barely breath. :P

De

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] article on early medieval embroidery stitches
Date: Sat, 22 May 2004 03:37:54 -0400
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Hi Althea~!

Perhaps this is the one you are thinking of?
http://www.42nd-dimension.com/NFPS/nfps_stitches.html

Pax,
::Linda::

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

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of Althea Turner
Sent: Friday, May 21, 2004 2:01 PM
To: Historical Costume
Subject: [h-cost] article on early medieval embroidery stitches

Greetings all,

I have been looking through my notes for a citation on an article but can't 
find it.  It was on known embroidery stitches in northern europe 400-800 (ish)

Does anyone know of such an article/website/book?  Am I going crazy and 
imagining the reference?  *laughs*

Is there a similar article on seam/stitches?



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From: "Kate Pinner" <pinner@mccc.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPGEHJCHAA.otsisto@socket.net>
Subject: Re: [h-cost] Gores versus gussets
Date: Sat, 22 May 2004 09:32:46 -0400
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I have seen and used an oval gusset -- same purpose as the square/rectangle,
but with the corners softened to form an oval.
Kate

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 3:30 PM
Subject: RE: [h-cost] Gores versus gussets


> What I have been told and keep as a definition:
> Gussets: are a square to rectangular piece of material that is of bias cut
> that is inserted in places to give ease to the garment, such as under the
> arm.
> Gores: are triangular, quarter circle or half circle material (not
> necessarily of bias cut) that is inserted to give the garment flare or
space
> in a garment.
>
> De
> -----Original Message-----
> yes it is confusing.  Sometimes I don't know why one term is used over
> another.   as far as I know, a gore is narrow at one end and wide at the
> other.  a gusset is inserted in the middle of a seam.   however, it
> seems you are saying there is some other criteria, which I would be
> interested in knowing.   I am not a professionally trained seamstress,
> so I have to learn this stuff as I can.
>
> Kitty
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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>


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> Actually, some concepts about the body being deformed by corsets, and
> the excessive weight of underclothing and clothing in general, are
> derived (whether directly or at some remove) from Victorian
> publications on dress reform.   Whether such concepts were true or
> not, they had a significant number of adherents. 

And some of the concepts are from xrays taken of the women (when 
xrays were still pretty new) and from autopsies. I had a medical book 
from the time period who showed drawings of the autopsies and I had 
another one from around the turn of the century which showed xrays. 
The more wasp waisted the corset was, the more it tended to "squish" 
things in odd directions.

They also tended to make the women breath differently than men (which 
probably contributed to some of those women being more prone to the 
"vapors" and passing out.) The medical books describe the "mechanism 
of breathing" very differently for men and women. It certainly 
hampered their understanding of physiology (which was not well 
understood at the time so they were doing a lot of investigation.)

Kat
<kat@redtrollforge.com>


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Date: Sat, 22 May 2004 22:40:49 -0400
Subject: Re: [h-cost] Market wallets?
From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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Heather,
Thanks very much! I only need it to creep back to 13th to be useful to my
more amusing medieval persona. It seems like such an obvious and utilitarian
style that it would be around earlier, but I had no background for it.
Thanks again,
Lauren


> From: Heather Rose Jones <hrjones@socrates.berkeley.edu>

> At 11:15 AM -0400 5/22/04, Lauren Walker wrote:

> 
> Ah, ok, that _is_ the lineal descendent of the bags I was describing
> in my previous post.  I'm not having any luck finding examples
> on-line at the moment, but the examples I use as comparative material
> in my article on shepherds purses are:
> 
> - scene of reapers from Egerton MS 2019
> - scenes of mowers and reapers from the Hours of Henry VIII
> - travelers in an annunciation scene in frescos at Atri, Italy
> 
> I've found examples of the style at least as early as the 14th
> century, and they're fairly common in the 15-16th centuries.  (My
> research on this project doesn't go much beyond the 16th c. because
> the artifact I'm focusing on doesn't show up much beyond that.)
> 
> Heather
> -- 
> *****
> Heather Rose Jones
> hrjones@socrates.berkeley.edu
> *****
> _______________________________________________
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Date: Sat, 22 May 2004 22:45:30 -0400
Subject: Re: [h-cost] Foaming at the mouth
From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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Friend of mine says: "The more you know, the less you can enjoy." IF you
don't think you have a chance to get in with these folks anyway, DO send a
really snotty letter to them! I grew up in Syracuse, so I have this feeling
I know what kind of infuriating they are... and won't you feel better if you
put it all in a tidy, footnoted epistle and send it off? And do share with
the list what you end up saying! For you can always be in with us, instead,
and those who want to learn (like me) are ALWAYS more fun than the wilfully
ignorant! Do battle for the sake of The Correct Information!

(Sorry -- I have this awful problem in life because I am torn all the time
between being "nice" and serving The Information, so I'm starting to regret
having counseled you to let it slide.) Anyway, take care, and at least enjoy
the support and solidarity of the likeminded, whatever you choose!
Lauren


> From: "Bice" <wantstobecorsetted1@hotmail.com>

> 
> I tried that. I really did. I kept saying he's old he doesn't know any
> better he's doing the best he can. Then he made a remark about corsets and
> reproduction organs and I simply walked out of the room to catch my breath
> and temper. There were other appalling faux pas that I'm just disturbed
> over. They take classes through this place!! And this area is a very
> cliquish sort of place so I doubt I can even get an "in" to even teach a
> class. As I said before I'm not in the realm of knowledge of some of ladies
> here but at least I know that compared to this guy I'm a freaking genius.
>

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Subject: Re: [h-cost] Foaming at the mouth
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Yeah well I'm a past master of them. Yes rabid with rapid movement towards
the truck.
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 2:26 AM
Subject: Re: [h-cost] Foaming at the mouth


> You mean "rabid?" <g>
> (interesting spoonerism, that!)
> --sue
>
> Bice wrote:
>
> > No website. None to speak of anyhow. I'm so damn disgusted. I do have a
> > friend I'm waiting to hear from who is of the local aristocracy and I'm
> > hoping she knows someone who is a director there. They need a class on
> > Victorian clothing. I'm still rapid over this.
>
> _______________________________________________
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Subject: Re: [h-cost] Foaming at the mouth
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The owner of the home was a prolific art collector and the docent cited a
painting of four young ladies in pastels and bustles playing cards and one
was leaning on a table to view her cards.
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 10:10 PM
Subject: Re: [h-cost] Foaming at the mouth


>
> ----- Original Message -----
> From: "Bice" <wantstobecorsetted1@hotmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, May 22, 2004 8:53 AM
> Subject: Re: [h-cost] Foaming at the mouth
>
>
> > No website. None to speak of anyhow. I'm so damn disgusted. I do have a
> > friend I'm waiting to hear from who is of the local aristocracy and I'm
> > hoping she knows someone who is a director there. They need a class on
> > Victorian clothing. I'm still rapid over this. Granted I don't know
> > *everything* about this era but this era was my thing before I got into
> > medieval era clothing. This man pushing 80 who just spouted out a fount
of
> > misinformation pointing to lovely paintings of women on the beach and
> > playing cards citing them leaning on tables because they needed to
balance
> > themselves. ARGH!!!!!!
> Really isn't that one of the cardinal rules of Victorian table manners,
> _DON'T_ put your elbows on the table. The whole off balance thing is
> something new to me, I've heard the 'underwear was heavy and deformed your
> body' argument but "they couldn't keep their balance" is just so ludicrous
I
> can't even work out how somebody would come up with it. The other 2 are
> loosely based on fact (there was more underwear than today, it was
heavier,
> and some women did tightlace to the extreme) but the whole, being so off
> balance they couldn't even sit down without leaning on something is so
> totally off base I can't even see where you would find it's origin.
> Elizabeth
> --------------------------------------------------------------------------
--
> ----
> Elizabeth Beaumont              Elizabeth Walpole
> Politarchopolis, Lochac     Canberra Australia
>              ewalpole@austar.net.au
>
> People are like stained glass windows. They sparkle and shine when the sun
> is out, but when the darkness sets in ,their true beauty is revealed only
if
> there is light from within.
> Elizabeth Kubler-Ross
>
> The years that a woman subtracts from her age are not lost. They are added
> to the ages of other women.
> Diane de Poitiers (1499-1566) Attrib.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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Dead on!! That was "one" of his reasonings!!
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 3:28 AM
Subject: RE: Weight of underwear (was Re: [h-cost] Foaming at the mouth)

> Whether it is 10lbs. or 15lbs., It comes down to "Ladies, do you find
> yourself off balanced when you wear you under garments"?
>
> Maybe they had their corsets to tight and had to lean for support cause
they
> could barely breath. :P
>
> De
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From h-costume-bounces@indra.com  Sat May 22 11:05:27 2004
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: Re: [h-cost] Foaming at the mouth
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I did quite a bit of work for a small museum that only stayed open as many hours as it did due to the service of volunteers.  Many of the volunteers were nearing retirement age and the laws regarding pensions in Australia at the time were if you were over 53 (or some age close to retirement) you could get government benefits if you did community service X amount of hours per week.

The volunteers we got in this catagory did their best, and the museum did their best to educate them (an ongoing endevour) to the best of thier own knowledge. The museum was able to be open 6 days a week instead of 4 with their help.  Perhaps a gentle letter of correction might be more appreciated than a snotty one, or write a snotty one and and gentle one just to get it out of your system, but sent the gentle on.  Ahh to live in a perfect world!!!!

Lisa Sinervo

---------- Original Message ----------------------------------
From: Lauren Walker <lauren.walker@comcast.net>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Sat, 22 May 2004 22:45:30 -0400

>Friend of mine says: "The more you know, the less you can enjoy." IF you
>don't think you have a chance to get in with these folks anyway, DO send a
>really snotty letter to them! I grew up in Syracuse, so I have this feeling
>I know what kind of infuriating they are... and won't you feel better if you
>put it all in a tidy, footnoted epistle and send it off? And do share with
>the list what you end up saying! For you can always be in with us, instead,
>and those who want to learn (like me) are ALWAYS more fun than the wilfully
>ignorant! Do battle for the sake of The Correct Information!
>
>(Sorry -- I have this awful problem in life because I am torn all the time
>between being "nice" and serving The Information, so I'm starting to regret
>having counseled you to let it slide.) Anyway, take care, and at least enjoy
>the support and solidarity of the likeminded, whatever you choose!
>Lauren
>
>
>> From: "Bice" <wantstobecorsetted1@hotmail.com>
>
>> 
>> I tried that. I really did. I kept saying he's old he doesn't know any
>> better he's doing the best he can. Then he made a remark about corsets and
>> reproduction organs and I simply walked out of the room to catch my breath
>> and temper. There were other appalling faux pas that I'm just disturbed
>> over. They take classes through this place!! And this area is a very
>> cliquish sort of place so I doubt I can even get an "in" to even teach a
>> class. As I said before I'm not in the realm of knowledge of some of ladies
>> here but at least I know that compared to this guy I'm a freaking genius.
>>
>
>_______________________________________________
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>
 
             
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Subject: Re: [h-cost] Foaming at the mouth
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In a message dated 5/22/04 10:05:47 AM Central Daylight Time, 
Lisa-list@thrednedlestrete.com writes:
The volunteers we got in this catagory did their best, and the museum did 
their best to educate them (an ongoing endevour) to the best of thier own 
knowledge. The museum was able to be open 6 days a week instead of 4 with their help. 
 Perhaps a gentle letter of correction might be more appreciated than a 
snotty one, or write a snotty one and and gentle one just to get it out of your 
system, but sent the gentle on.  


I *totally* agree with this.  Perhaps, if you have time, you could even offer 
to provide some actual, well-researched tidbits of information that the tour 
guides could use, to replace their misinformation.

As hard as it is to stomach, we also have to recall that the target audience 
of a place like that is often tourists who really don't know any different 
from what the guides tell them, and who expect to hear things that are 
sensational and shocking about how weird those people "back then" were.  I would compare 
it to going to any renaissance faire and seeing the same utterly bizarre 
(historically speaking) anachronisms acted out year after year, location after 
location.  

There's simply a way that the public expects things to be, regardless of what 
actually *was*, and that's what they get.  It's frustrating.  And your 
general person on the street would probably tell you with an air of complete 
confidence, that women during Victorian times were deformed from their corsets and 
blah blah blah.

One that annoys me is the idea that all women at the time were wasp waisted 
and petite Winona Ryder clones.  A study of any good collection of 19th century 
fashion will show a widely varied range of sizes, with many of them being for 
more buxom women.  Obviously the overall silhouette of their figures would 
(generally speaking) be different from ours simply through the training of their 
bodies to corsetry, but they were not all minute and wilting by any means.

Perhaps we could help come up with a list of neat, interesting, factual 
tidbits that the original poster could include in the letter as suggestions for the 
museum?

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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In a message dated 5/22/2004 12:33:42 AM Eastern Standard Time, 
ewalpole@austarmetro.com.au writes:

> The general consensus seems to be that
> they turn out too big, for those that did find them too big did you check
> your measurements against the pattern envelope, or did you just go with your
> normal size?

Perhaps the corset pattern is the measurements for the size of the 
gown....y'know both are like size 10 measurements. When in reality the corset should be 
about 2" smaller and should not lace completely shut. So the corset seems too 
big. [Well, because it is! even though it's like a size 10]
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From: "Bice" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <200405221004.AA95944794@thrednedlestrete.com>
Subject: Re: [h-cost] Foaming at the mouth
Date: Sat, 22 May 2004 11:43:38 -0400
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Well they are without a doubt getting a letter of education. Maybe my paper
from college on Victorian clothing including the artistic movement. Snotty?
I'll try not to be but I'm often snotty without trying. I'd like to see
maybe some re-education.
=============================
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http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 11:04 AM
Subject: Re: [h-cost] Foaming at the mouth


> I did quite a bit of work for a small museum that only stayed open as many
hours as it did due to the service of volunteers.  Many of the volunteers
were nearing retirement age and the laws regarding pensions in Australia at
the time were if you were over 53 (or some age close to retirement) you
could get government benefits if you did community service X amount of hours
per week.
>
> The volunteers we got in this catagory did their best, and the museum did
their best to educate them (an ongoing endevour) to the best of thier own
knowledge. The museum was able to be open 6 days a week instead of 4 with
their help.  Perhaps a gentle letter of correction might be more appreciated
than a snotty one, or write a snotty one and and gentle one just to get it
out of your system, but sent the gentle on.  Ahh to live in a perfect
world!!!!
>
> Lisa Sinervo
>
> ---------- Original Message ----------------------------------
> From: Lauren Walker <lauren.walker@comcast.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date:  Sat, 22 May 2004 22:45:30 -0400
>
> >Friend of mine says: "The more you know, the less you can enjoy." IF you
> >don't think you have a chance to get in with these folks anyway, DO send
a
> >really snotty letter to them! I grew up in Syracuse, so I have this
feeling
> >I know what kind of infuriating they are... and won't you feel better if
you
> >put it all in a tidy, footnoted epistle and send it off? And do share
with
> >the list what you end up saying! For you can always be in with us,
instead,
> >and those who want to learn (like me) are ALWAYS more fun than the
wilfully
> >ignorant! Do battle for the sake of The Correct Information!
> >
> >(Sorry -- I have this awful problem in life because I am torn all the
time
> >between being "nice" and serving The Information, so I'm starting to
regret
> >having counseled you to let it slide.) Anyway, take care, and at least
enjoy
> >the support and solidarity of the likeminded, whatever you choose!
> >Lauren
> >
> >
> >> From: "Bice" <wantstobecorsetted1@hotmail.com>
> >
> >>
> >> I tried that. I really did. I kept saying he's old he doesn't know any
> >> better he's doing the best he can. Then he made a remark about corsets
and
> >> reproduction organs and I simply walked out of the room to catch my
breath
> >> and temper. There were other appalling faux pas that I'm just disturbed
> >> over. They take classes through this place!! And this area is a very
> >> cliquish sort of place so I doubt I can even get an "in" to even teach
a
> >> class. As I said before I'm not in the realm of knowledge of some of
ladies
> >> here but at least I know that compared to this guy I'm a freaking
genius.
> >>
> >
> >_______________________________________________
> >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] Foaming at the mouth
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The thing is there are some tidbits right there!! The daughter of the house
Harriet was divorced in the 1880's she was also mentally ill (I think it had
to do with her husband's girlfriend however) now for a woman in Oswego NY in
NYS period to divorce is so rare. Up until very recently the only grounds a
women could get a divorce on here was adultery!! There's a nice little bit
for you! And it's not like they hide it because the museum pamphlets play it
up! And if I had to hear his explanation of  how 6 year old girls had ribs
removed by their mother (a practice continuing today according to him) in
order to have a smaller waist....omg the more I think the angrier I get.
=============================
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http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
> I *totally* agree with this.  Perhaps, if you have time, you could even
offer
> to provide some actual, well-researched tidbits of information that the
tour
> guides could use, to replace their misinformation.
>
> As hard as it is to stomach, we also have to recall that the target
audience
> of a place like that is often tourists who really don't know any different
> from what the guides tell them, and who expect to hear things that are
> sensational and shocking about how weird those people "back then" were.  I
would compare
> it to going to any renaissance faire and seeing the same utterly bizarre
> (historically speaking) anachronisms acted out year after year, location
after
> location.
>
> There's simply a way that the public expects things to be, regardless of
what
> actually *was*, and that's what they get.  It's frustrating.  And your
> general person on the street would probably tell you with an air of
complete
> confidence, that women during Victorian times were deformed from their
corsets and
> blah blah blah.
>
> One that annoys me is the idea that all women at the time were wasp
waisted
> and petite Winona Ryder clones.  A study of any good collection of 19th
century
> fashion will show a widely varied range of sizes, with many of them being
for
> more buxom women.  Obviously the overall silhouette of their figures would
> (generally speaking) be different from ours simply through the training of
their
> bodies to corsetry, but they were not all minute and wilting by any means.
>
> Perhaps we could help come up with a list of neat, interesting, factual
> tidbits that the original poster could include in the letter as
suggestions for the
> museum?
>
> -Tiffany
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Subject: [h-cost] RE: Tailor's
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>Tailor = male sewer
>Seamstress + female sewer

OED  - Tailor
1. a. ‘One whose business is to make clothes’ (J.); a maker of the outer 
garments of men, also sometimes those of women, esp. riding-habits, walking 
costumes, etc. See also MERCHANT-TAILOR.  (Although historically the tailor 
is the cutter, in the trade the ‘tailor’ is the man who sews or makes up 
what the ‘cutter’ has shaped.)  1297 R. GLOUC. (Rolls) 6391 A robe he let 
him ssape uerst of blod red scarlet there the ssarpe stones bi the stret is 
tailors were..the tailors corue so moni peces uor is robe ne ssolde pow3e.

OED - Seamstress, Sempstress
A woman who seams or sews; a needlewoman whose occupation is plain sewing as 
distinguished from dress or mantle-making, decorative embroidery, etc.  1644 
HOWELL Twelve Treat. (1661) 47 A great masse of money and plate was brought 
into the Guild-hall, the Semstresse brought in her silver Thimble,..the Cook 
his Spoons.

However,

OED Seamster, Sempster
One who sews; one whose occupation is sewing, esp. the making and mending of 
garments; a tailor, seamstress.
Originally a designation of a woman, but in OE. already applicable to a man. 
Now only applied to one of the male sex, seamstress being commonly used for 
a female sewer.
c995 in Kemble Cod. Diplom. VI. 131 Ane crencestræn, and ane semestran.

Marc

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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Foaming at the mouth
Date: Sat, 22 May 2004 11:18:24 -0500
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Better yet, get a group together and all show up in accurate period
clothing, right down to your drawers and corsets. Educate by example?

Talia

> Perhaps we could help come up with a list of neat, interesting, factual
> tidbits that the original poster could include in the letter as
> suggestions for the
> museum?
>
> -Tiffany

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Subject: Re: [h-cost] Foaming at the mouth
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Ah, we now get down to the real motive--the fun of being superior, 
getting together with a crowd of like-minded people, and putting others 
down publicly.  This has nothing to do with "education." 

Fran

Lauren Walker wrote:

>Friend of mine says: "The more you know, the less you can enjoy." IF you
>don't think you have a chance to get in with these folks anyway, DO send a
>really snotty letter to them! I grew up in Syracuse, so I have this feeling
>I know what kind of infuriating they are... and won't you feel better if you
>put it all in a tidy, footnoted epistle and send it off? And do share with
>the list what you end up saying! For you can always be in with us, instead,
>and those who want to learn (like me) are ALWAYS more fun than the wilfully
>ignorant! Do battle for the sake of The Correct Information!
>  
>
>  
>

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Nope.  As heavy as it was (and in my case, may have been a case of 
overkill with the petticoats), I was always quite well balanced.  Well, 
the clothing was <g>.  That's actually one of the reasons that I was 
able to move and live in my Elizabethan clothing, because it *was* 
well-balanced, and wasn't, say, all hanging from my shoulders.  Clothing 
heavier (and longer, and more full-skirted) than my usual 
jeans-and-tee-shirt sometimes require a different kind of attention to 
detail, and small changes in movement and posture, but they're not 
deforming.  If I get wobbly, it's me, forgetting what I've got on and 
where I am, not the clothing.  I'd imagine that someone who grew up 
wearing styles from a certain time, and who wore it all the time (and 
not just on long weekends ;o) would have sort of a built-in knack for 
moving/living in that type of clothing.
--sue, who's worn her share of painful corsets, but that was actually my 
fault, for construction problems, and not the corsets!

otsisto wrote:

> Whether it is 10lbs. or 15lbs., It comes down to "Ladies, do you find
> yourself off balanced when you wear you under garments"?
> 
> Maybe they had their corsets to tight and had to lean for support cause they
> could barely breath. :P

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In a message dated 5/22/04 11:25:47 AM Central Daylight Time, 
fran@lavoltapress.com writes:
Ah, we now get down to the real motive--the fun of being superior, 
getting together with a crowd of like-minded people, and putting others 
down publicly.  This has nothing to do with "education." 

Fran


I think this is a bit unfair.  The original poster (sorry, can't remember her 
name) has done nothing to publicly put the tour guide down; she came to a 
group of people who would understand her frustration, and vented.  We all have 
our pet peeves and irritations in this hobby, the things that push our buttons.  
I think she's gotten some good input from several different viewpoints, and 
we do not know yet what she will ultimately end up doing; so it seems premature 
to judge her intentions or the outcome of the entire situation.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Subject: Re: [h-cost] Catching up - was Colonial House series.
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on 5/21/04 10:25 PM, Marc Carlson at marccarlson20@hotmail.com wrote:
 
> Let's see -- my ancestors -- if memory serves the 4 were 4 men and 1 woman,
> 2 convictions, 2 acquittals.  Of the convictions, Mary Sanford was hung, and
> James Wakely escaped to spend the next 20 years trying to divorce his wife
> (when he was convicted all his property was confiscated, since he didn't die
> she couldn't remarry).

Love takes interesting forms sometimes. A good man.

> 
> I was under the impression that Goodie Bassett was hung in Stratford in
> 1651.  OTOH, Stratford is in Fairfield County, and I tend to think of is as
> a separate place from Fairfield proper, but I bet it isn't any more :)

Stratford and Fairfield were separate settlements but abutted. They no
longer abut: Bridgeport, P.T. Barnum's town, thrust itself between late in
the nineteenth c. 

Goody Knapp worked for the Staples family, and one reason for the witchcraft
charge against Knapp was Bassett's assertion about the other witch in
Fairfield. Since my consort and I have been working off and on for years on
the Staples story, we tend to think of these three women as inextricably
linked and so we link the towns as well.

Sorry--my dates are loose--the project's been "off" more than "on" for the
last five or six years, and I'm not sure at the moment where we've got our
notes, since we're currently in the middle of a very slow move from one
house to another. I may have had the date wrong for Knapp. Bassett was
hanged a year or so before Knapp, and Staples was accused shortly after
Knapp was hanged--I believe the Ludlowe slander trial was a year later
(maybe a bit longer) in New Haven and there was no trial of Mary at that
time. 

Our research benefited hugely from that slander trial, by the way, because
the records of the Knapp trial are nonexistent--either they were among
papers Ludlowe absconded with or they were burned when the British burned
Fairfield in the Revolution. But some of the testimony in Staples referred
to accusations and events in Knapp, and also made clear the various family
alliances in what was evidently an ongoing political struggle between Roger
Ludlowe and Mary Staples' husband (whom I want at the moment to call Thomas
but that may not be right so I'll just say "husband").

According to our reading, one thing that helped Staples and her female
offspring in the end-of-century trial was the embarrassing end of the Salem
trials--when their witch court came to an end, the charges in Fairfield seem
also to have been dropped. Mary Staples had been released by then, at the
intercession of her friend Gould, but daughter and grand-daughter got out
only when the prosecution decided to stop.

> My information has Mary Staples being acquitted and her accuser Robert
> Ludlow being fined 20 Pounds for defamation - since that was -also- a crime;
> but yes, I misspoke.

Yes, Roger Ludlowe lost, but he had flown the coop by then. He evidently
took with him a pile of Fairfield colony records (see above). BTW, modern
Fairfield dutifully named a high school after him, as our neighbor Westport
named one for the Staples family.

Ruth Anne
> 
> ===================
> Just as an amusing aside, according to the Middle English Dictionary, a
> "Gore" is a an inlet, like a long thin bay, and a triangular insert of
> material in clothing :)
> 
> Marc
> 
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Subject: Re: [h-cost] Simplicity's corset patterns
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For me, I always have to make Simplicity patterns two sizes smaller than 
what the mesurements tell on the envelope
But I forgot while making my corset :-( .

AlbertCat@aol.com wrote:

>In a message dated 5/22/2004 12:33:42 AM Eastern Standard Time, 
>ewalpole@austarmetro.com.au writes:
>
>  
>
>>The general consensus seems to be that
>>they turn out too big, for those that did find them too big did you check
>>your measurements against the pattern envelope, or did you just go with your
>>normal size?
>>    
>>
>
>Perhaps the corset pattern is the measurements for the size of the 
>gown....y'know both are like size 10 measurements. When in reality the corset should be 
>about 2" smaller and should not lace completely shut. So the corset seems too 
>big. [Well, because it is! even though it's like a size 10]
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>  
>

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Simplicity's corset patterns
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I used metal and plastik boning because I didn't had enough metal.
But I rememder there is one boning channel at the sides that didn't work 
with the metal boning.
It wasn't strait enough and it twisted. I think in the end I left them out.
I think metal boning and a wooden busk wil work best, but you have to 
change the chanels at the sides.

Greetings,
        Deredere

Elizabeth Walpole wrote:

>Hi,
>one more question (for now), for those that have used these patterns what
>did you use for boning? are the boning channels straight enough to use flat
>steels? or will I need spiral steel? The general consensus seems to be that
>they turn out too big, for those that did find them too big did you check
>your measurements against the pattern envelope, or did you just go with your
>normal size? I just want to check if their printed measurements are off or
>whether they are a different size to normal patterns.
>Thanks
>Elizabeth
>----------------------------------------------------------------------------
>----
>Elizabeth Beaumont              Elizabeth Walpole
>Politarchopolis, Lochac     Canberra Australia
>             ewalpole@austar.net.au
>
>People are like stained glass windows. They sparkle and shine when the sun
>is out, but when the darkness sets in ,their true beauty is revealed only if
>there is light from within.
>Elizabeth Kubler-Ross
>
>The years that a woman subtracts from her age are not lost. They are added
>to the ages of other women.
>Diane de Poitiers (1499-1566) Attrib.
>
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>



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From h-costume-bounces@indra.com  Sat May 22 12:44:39 2004
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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I think a study of the changing weight of underwear through the ages might be quite a fascinating undertaking..........

Lisa 

---------- Original Message ----------------------------------
From: Sue Clemenger <mooncat@in-tch.com>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Sat, 22 May 2004 10:27:03 -0600

>Nope.  As heavy as it was (and in my case, may have been a case of 
>overkill with the petticoats), I was always quite well balanced.  Well, 
>the clothing was <g>.  That's actually one of the reasons that I was 
>able to move and live in my Elizabethan clothing, because it *was* 
>well-balanced, and wasn't, say, all hanging from my shoulders.  Clothing 
>heavier (and longer, and more full-skirted) than my usual 
>jeans-and-tee-shirt sometimes require a different kind of attention to 
>detail, and small changes in movement and posture, but they're not 
>deforming.  If I get wobbly, it's me, forgetting what I've got on and 
>where I am, not the clothing.  I'd imagine that someone who grew up 
>wearing styles from a certain time, and who wore it all the time (and 
>not just on long weekends ;o) would have sort of a built-in knack for 
>moving/living in that type of clothing.
>--sue, who's worn her share of painful corsets, but that was actually my 
>fault, for construction problems, and not the corsets!
>
>otsisto wrote:
>
>> Whether it is 10lbs. or 15lbs., It comes down to "Ladies, do you find
>> yourself off balanced when you wear you under garments"?
>> 
>> Maybe they had their corsets to tight and had to lean for support cause they
>> could barely breath. :P
>
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From h-costume-bounces@indra.com  Sat May 22 12:55:47 2004
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From: Lavolta Press <fran@lavoltapress.com>
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Also, I think the concept of "this is what my reproduction clothes 
weigh/feel like to wear" is not an entirely valid or complete evidence 
of what people's clothes were like or felt like in any historic period.  
Victorian corsets were put on females whose bones were still growing, 
when bones are far easier to reshape, and sometimes with the express 
purpose of ensuring a small waist/fashionable figure in adulthood.  
Furthermore, I believe such reshaping requires pretty constant wearing 
of the corset, at least during the day.  (Such reshaping of bones by a 
device is still often done, in the form of dental braces.)  Putting on 
the corset as an adult for occasional weekend and/or evening events 
would not, I think, reshape the bones.

It should also be remembered that many historic reenactment events take 
place either indoors in buildings with central heating or outdoors in 
warm weather.  In other words, in situations where it is unnecessary to 
wear heavy clothing for warmth, except perhaps a walk to a heated car.

Getting back to reform dress, I don't think it would have had any 
adherents to speak of if women (and the doctors who advocated it) felt 
that its claims that corsets could deform the figure and that heavy 
garments impeded the wearer, were completely untrue.  I also suspect 
there were degrees of adherence to reform principles.  Many women 
considered highly unconventional outfits like bloomers (as day wear, 
forms of them did catch on for exercise wear) to be extreme.  On the 
other hand, changes like lacing less tightly, wearing less 
underclothing, suspending petticoat weight from the shoulders (which I 
would find uncomfortable, but it was one reform idea), and wearing wool 
next to the skin (which I wouldn't care for, but it was considered 
healthful for a time), changes like this were less public and would not 
have labeled the wearer as eccentric.

Fran
http://www.lavoltapress.com


>And some of the concepts are from xrays taken of the women (when 
>xrays were still pretty new) and from autopsies. I had a medical book 
>from the time period who showed drawings of the autopsies and I had 
>another one from around the turn of the century which showed xrays. 
>The more wasp waisted the corset was, the more it tended to "squish" 
>things in odd directions.
>
>They also tended to make the women breath differently than men (which 
>probably contributed to some of those women being more prone to the 
>"vapors" and passing out.) The medical books describe the "mechanism 
>of breathing" very differently for men and women. It certainly 
>hampered their understanding of physiology (which was not well 
>understood at the time so they were doing a lot of investigation.)
>
>
>  
>

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Subject: Re: [h-cost] Foaming at the mouth
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I'm not judging what she has or has not actually done, but the practice 
of "let's get together and run down people who are more ignorant than we 
are."   I personally am not a like-minded person in this respect.

Fran

Tiffsewsstuff@aol.com wrote:

>In a message dated 5/22/04 11:25:47 AM Central Daylight Time, 
>fran@lavoltapress.com writes:
>Ah, we now get down to the real motive--the fun of being superior, 
>getting together with a crowd of like-minded people, and putting others 
>down publicly.  This has nothing to do with "education." 
>
>Fran
>
>
>I think this is a bit unfair.  The original poster (sorry, can't remember her 
>name) has done nothing to publicly put the tour guide down; she came to a 
>group of people who would understand her frustration, and vented.  
>  
>

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In a message dated 5/22/04 11:57:54 AM Central Daylight Time, 
fran@lavoltapress.com writes:
I'm not judging what she has or has not actually done, but the practice 
of "let's get together and run down people who are more ignorant than we 
are."   I personally am not a like-minded person in this respect.

Fran


I guess I just don't see where this has happened here.  If we were talking 
about walking up to someone on the street and saying, "give me a list of 5 facts 
regarding Victorian era customs" and they stumbled through it or gave 
misinformation, then I think we'd be unjustified in feeling concerned about their 
lack of veracity.  

But since the tour guides in a historical museum are putting forth their 
statements as fact, and since the average tour participant will most likely take 
the statements at face value (and assume that the tour guide has done his or 
her homework), I think it's fair for us to expect a higher level of education 
and truth from them; and to be concerned by such perpetuating of ignorance.

I would not advocate intentionally trying to be "snotty" (although to give 
credit, I think the person who used that term was being facetious) to anyone for 
any reason, but I do not feel that it is out of line to be upset about 
blatant misinforming, or to try to figure out what action, if any, is appropriate to 
express such concern.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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From h-costume-bounces@indra.com  Sat May 22 13:18:28 2004
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From: Lavolta Press <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Foaming at the mouth
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I guess I just don't see where this has happened here. If we were talking

>about walking up to someone on the street and saying, "give me a list of 5 facts 
>regarding Victorian era customs" and they stumbled through it or gave 
>misinformation, then I think we'd be unjustified in feeling concerned about their 
>lack of veracity.  
>  
>
Why?  I'm not at all concerned--even though I try to get my facts 
correct as much as possible.  The actions of some docents in some museum 
I am unconnected with are simply not my business.

>But since the tour guides in a historical museum are putting forth their 
>statements as fact
>
And as I've been trying to point out, some of tour guides' statements 
are not without basis. 

> and since the average tour participant will most likely take 
>the statements at face value 
>
Why?  There are an enormous number of sources of information publicly 
available, and most modern people are by no means naive about the fact 
that some information they receive is incorrect.  That's assuming 
they're even interested enough in the subject to care, and that a museum 
tour is anything more than a pleasant afternoon whose details they will 
soon forget.

>(
>I would not advocate intentionally trying to be "snotty" (although to give 
>credit, I think the person who used that term was being facetious) to anyone for 
>any reason, but I do not feel that it is out of line to be upset about 
>blatant misinforming, or to try to figure out what action, if any, is appropriate to 
>express such concern.
>  
>

Well, I do.  Other people and institutions run things their way, and it 
is not everyone else's business to supervise them all.

Fran


>
>  
>

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From h-costume-bounces@indra.com  Sat May 22 13:19:36 2004
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Foaming at the mouth
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I am more concerned about the info being given to children and BOCES
students. It wasn't simply the clothing it was that he didn't know who
Eastlake the company who designed the furniture was. Had no clue about
Japonesque and it's influences. Called the house Ren Revival when it is in
fact Italianate. And various other mistake I *know* he didn't learn at the
hands of some of the wonderfully smart people there who I know from my
grandfather's auction. And I'm sorry Fran that you see an ulterior motive to
my being so upset and the information being given out by someone who should
know better.

----- Original Message ----- 
From: <Tiffsewsstuff@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, May 22, 2004 1:06 PM
Subject: Re: [h-cost] Foaming at the mouth


> In a message dated 5/22/04 11:57:54 AM Central Daylight Time,
> fran@lavoltapress.com writes:
> I'm not judging what she has or has not actually done, but the practice
> of "let's get together and run down people who are more ignorant than we
> are."   I personally am not a like-minded person in this respect.
>
> Fran
>
>
> I guess I just don't see where this has happened here.  If we were talking
> about walking up to someone on the street and saying, "give me a list of 5
facts
> regarding Victorian era customs" and they stumbled through it or gave
> misinformation, then I think we'd be unjustified in feeling concerned
about their
> lack of veracity.
>
> But since the tour guides in a historical museum are putting forth their
> statements as fact, and since the average tour participant will most
likely take
> the statements at face value (and assume that the tour guide has done his
or
> her homework), I think it's fair for us to expect a higher level of
education
> and truth from them; and to be concerned by such perpetuating of
ignorance.
>
> I would not advocate intentionally trying to be "snotty" (although to give
> credit, I think the person who used that term was being facetious) to
anyone for
> any reason, but I do not feel that it is out of line to be upset about
> blatant misinforming, or to try to figure out what action, if any, is
appropriate to
> express such concern.
>
> -Tiffany
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From h-costume-bounces@indra.com  Sat May 22 13:24:12 2004
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Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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I should add that measuring waist size in surviving garments is not 
necessarily any indication as to whether the wearers' bones have been 
deformed.  Waist size is affected by several things--bone structure, 
muscle tone, and the amount of fat around the waist.  A woman whose bone 
structure had been altered by corsetry, who had a small waist as a young 
adult, but who later gained weight and/or whose figure was altered by 
successive pregancies, might have a significantly larger waist in later 
years.  But I believe her bone structure would be about the same as when 
she was younger.

Fran

>

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I'd suggest that you write an article or articles on these topics and 
have it/them published in a newsletter or magazine, and/or posted on a 
website.  And let everyone know the information there.  That way you can 
disseminate what you believe to be correct information without 
criticizing anyone.

As for children, they're probably the ones least likely to retain 
factual information as opposed to a hazy impression.

Fran

Bice wrote:

>I am more concerned about the info being given to children and BOCES
>students. It wasn't simply the clothing it was that he didn't know who
>Eastlake the company who designed the furniture was. Had no clue about
>Japonesque and it's influences. Called the house Ren Revival when it is in
>fact Italianate. And various other mistake I *know* he didn't learn at the
>hands of some of the wonderfully smart people there who I know from my
>grandfather's auction. And I'm sorry Fran that you see an ulterior motive to
>my being so upset and the information being given out by someone who should
>know better.
>
>  
>
>  
>

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Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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On Sat, 22 May 2004, Lavolta Press wrote:

> A woman whose bone structure had been altered by corsetry, who had a
> small waist as a young adult, but who later gained weight and/or whose
> figure was altered by successive pregancies, might have a
> significantly larger waist in later years.  But I believe her bone
> structure would be about the same as when she was younger.

Point of information: Pregnancy does indeed change bone structure, if by
that you mean positioning/placement of the bones. My ribcage, feet, and
pelvis will never again be as small as they were pre-pregnancy, no matter
how much weight I lose. The degree of change varies with the individual,
of course.

--Robin

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Do you think a compressed ribcage would enlarge to a woman's natural 
uncompressed size?

I have been told that pregnancy can also alter the woman's fat 
distribution, even if she gets back to the same weight as before the 
pregnancy.

Fran

Robin Netherton wrote:

>On Sat, 22 May 2004, Lavolta Press wrote:
>
>  
>
>>A woman whose bone structure had been altered by corsetry, who had a
>>small waist as a young adult, but who later gained weight and/or whose
>>figure was altered by successive pregancies, might have a
>>significantly larger waist in later years.  But I believe her bone
>>structure would be about the same as when she was younger.
>>    
>>
>
>Point of information: Pregnancy does indeed change bone structure, if by
>that you mean positioning/placement of the bones. My ribcage, feet, and
>pelvis will never again be as small as they were pre-pregnancy, no matter
>how much weight I lose. The degree of change varies with the individual,
>of course.
>
>--Robin
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>  
>

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From h-costume-bounces@indra.com  Sat May 22 14:21:28 2004
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This is reminding me of one of the Louisa May Alcott books ("Eight 
Cousins?"), in which the pre-adolescent heroine is given much less 
fashionably restrictive clothing by her new guardian.  It's been decades 
since I've read the book, and I'm not at all versed in much of 19th c. 
anything, but I seem to recall that she (the heroine) wasn't corseted, 
either, or had a more healthy corset, or something....
Looking back on it, I also wonder if perhaps there wasn't some classism 
as a subtext, since Our Heroine also spent time learning to do "healthy" 
domestic chores like baking bread (more of a "middle class" thing than 
an "upper class" thing).
I'd be interested to hear more about this from folks who know more about 
reform dress and the philosophies behind it.  Heck, I don't even know if 
Alcott was a part of that movement (shame on me...I think a trip to the 
library's in order today!)
--sue

Fran wrote:

> Getting back to reform dress, I don't think it would have had any 
> adherents to speak of if women (and the doctors who advocated it) felt 
> that its claims that corsets could deform the figure and that heavy 
> garments impeded the wearer, were completely untrue.  I also suspect 
> there were degrees of adherence to reform principles.  Many women 
> considered highly unconventional outfits like bloomers (as day wear, 
> forms of them did catch on for exercise wear) to be extreme.  On the 
> other hand, changes like lacing less tightly, wearing less 
> underclothing, suspending petticoat weight from the shoulders (which I 
> would find uncomfortable, but it was one reform idea), and wearing wool 
> next to the skin (which I wouldn't care for, but it was considered 
> healthful for a time), changes like this were less public and would not 
> have labeled the wearer as eccentric.


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From h-costume-bounces@indra.com  Sat May 22 14:25:54 2004
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Oh, I agree, definitely! We grew up with different clothes and ways of 
moving, and the whole bit.  And I have no doubt that were I to make new 
16th c. clothing (which I actually haven't worn in years), that my 
construction methods and materials would be significantly different from 
those I used 11 years ago.  I'd be using linens, for one, and probably 
reeds for the pair of bodies, and either rope or willow for the 
farthingale.  It would definitely be lighter!
Some of us reenactors also live in very different climates (outside of 
any artificial heating or cooling aids) from the culture/time we 
recreate.  You can end up with some pretty strange wardrobes! ;o)
--sue

Lavolta Press wrote:

> Also, I think the concept of "this is what my reproduction clothes 
> weigh/feel like to wear" is not an entirely valid or complete evidence 
> of what people's clothes were like or felt like in any historic period.  
> Victorian corsets were put on females whose bones were still growing, 
> when bones are far easier to reshape, and sometimes with the express 
> purpose of ensuring a small waist/fashionable figure in adulthood.  
> Furthermore, I believe such reshaping requires pretty constant wearing 
> of the corset, at least during the day.  (Such reshaping of bones by a 
> device is still often done, in the form of dental braces.)  Putting on 
> the corset as an adult for occasional weekend and/or evening events 
> would not, I think, reshape the bones.
> 
> It should also be remembered that many historic reenactment events take 
> place either indoors in buildings with central heating or outdoors in 
> warm weather.  In other words, in situations where it is unnecessary to 
> wear heavy clothing for warmth, except perhaps a walk to a heated car.
> 

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Even in terms of actual antique clothing, dealers buy and sell over a 
wide variety of geographic areas.  But what they buy to sell in a local 
store tends to be appropriate for a local climate (and appeal to the 
local market in other ways as well).  When I used to buy from approval 
lots, unless I was specific about my wants the clothes I received from 
places like North Dakota were significantly different from what was sold 
here in the San Francisco Bay Area.

Fran
http://www.lavoltapress.com

Sue Clemenger wrote:

> Oh, I agree, definitely! We grew up with different clothes and ways of 
> moving, and the whole bit. 
>
> Lavolta Press wrote:
>
>> Also, I think the concept of "this is what my reproduction clothes 
>> weigh/feel like to wear" is not an entirely valid or complete 
>> evidence of what people's clothes were like or felt like in any 
>> historic period.  
>
>

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I'm going from memory here, but I think the book you refer to was "Eight 
Cousins."  I think the orphan Rose's guardian was a doctor who did not 
believe in corsets for health reasons, and who resisted the advice of a 
female relative, a matron who advised him that if Rose did not wear 
corsets she would start "growing" or "developing"--something on that 
order.  I do not know about Alcott's connection with dress reform but I 
think she did use her children's books to advocate various ideas about 
health, dress, and upbringing.  Mind you, I have read none of her books 
since childhood. 

What have you read about Victorian corset wearing during pregnancy?  
What I have from memory is complaints from doctors that women at least 
sometimes wore corsets of a type and tightness that the thought impeded 
the growth of the fetus.

Fran


Sue Clemenger wrote:

> This is reminding me of one of the Louisa May Alcott books ("Eight 
> Cousins?"), in which the pre-adolescent heroine is given much less 
> fashionably restrictive clothing by her new guardian.  It's been 
> decades since I've read the book, and I'm not at all versed in much of 
> 19th c. anything, but I seem to recall that she (the heroine) wasn't 
> corseted, either, or had a more healthy corset, or something....
> Looking back on it, I also wonder if perhaps there wasn't some 
> classism as a subtext, since Our Heroine also spent time learning to 
> do "healthy" domestic chores like baking bread (more of a "middle 
> class" thing than an "upper class" thing).
> I'd be interested to hear more about this from folks who know more 
> about reform dress and the philosophies behind it.  Heck, I don't even 
> know if Alcott was a part of that movement (shame on me...I think a 
> trip to the library's in order today!)
> --sue
>
> Fran wrote:
>
>> Getting back to reform dress, I don't think it would have had any 
>> adherents to speak of if women (and the doctors who advocated it) 
>> felt that its claims that corsets could deform the figure and that 
>> heavy garments impeded the wearer, were completely untrue.  I also 
>> suspect there were degrees of adherence to reform principles.  Many 
>> women considered highly unconventional outfits like bloomers (as day 
>> wear, forms of them did catch on for exercise wear) to be extreme.  
>> On the other hand, changes like lacing less tightly, wearing less 
>> underclothing, suspending petticoat weight from the shoulders (which 
>> I would find uncomfortable, but it was one reform idea), and wearing 
>> wool next to the skin (which I wouldn't care for, but it was 
>> considered healthful for a time), changes like this were less public 
>> and would not have labeled the wearer as eccentric.
>
>
>
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>

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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On Sat, 22 May 2004, Lavolta Press wrote:

> Do you think a compressed ribcage would enlarge to a woman's natural
> uncompressed size?

I have no idea if a compressed ribcage would enlarge to "natural
uncompressed size" in a nonpregnant woman who abandons the corsets after a
given number of years corseted.

If you're asking about pregnant women, I would expect that a formerly
compressed ribcage that is freed from corsets during pregnancy would
certainly expand from the effects of pregnancy alone, though whether it
would achieve the same size and shape as it would have without the earlier
compression, I couldn't guess. It's important to note that "natural
uncompressed size" after pregnancy would certainly be different than "the
size she would have been if she had not been corseted for years *and* had
not become pregnant." Pregnancy itself is responsible for a number of
changes in ribcage size and shape, so the post-pregnant figure will be
different.

(The mechanism, BTW, isn't simply pressure from the exapansion of the
uterus. During pregnancy, the body releases certain hormones that "relax"
the joints throughout the body. This allows not only for ribcage expansion
during pregnancy, but also pelvic expansion at birth. And it has effects
on other parts of the body, noticeably the feet.)

ISTR that Victorian women wore different underpinnings after a certain
point in pregnancy to accommodate expansion, but I have not studied this
detail, and I have no idea if this vaguely remembered tidbit is true or
what sort of acommodations were made.

> I have been told that pregnancy can also alter the woman's fat
> distribution, even if she gets back to the same weight as before the
> pregnancy.

Yes, particularly in the breasts, and nursing adds to the changes. Most
women post a net loss in breast size after weaning (compared to
pre-pregnancy size); some of us gain (I went up a cup size with each
pregnancy, after weaning, compared to my pre-pregnancy size, even after I
lost all my pregnancy weight). This has to do with the original
proportions of ducts/glands vs. fat in the breasts; the proportions change
during pregnancy and nursing, as these stages promote duct growth and
diminish fat. So the direction of change is a matter of whether your
original size consisted mostly of fat or of ductal/glandular tissue, as
these tissues end up in different proportions afterward. I happened to
have been duct-heavy to start (something noted on my mammograms) so I
didn't have much fat to lose; the additional duct growth during nursing
just made them bigger. A woman who starts with a lot of fat in her breasts
will probably lose more in fat than she gains in ducts, and end up smaller
after it's all over.

--Robin

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> And some of the concepts are from xrays taken of the
> women (when 
> xrays were still pretty new) and from autopsies. I
> had a medical book 
> from the time period who showed drawings of the
> autopsies and I had 
> another one from around the turn of the century
> which showed xrays. 
> The more wasp waisted the corset was, the more it
> tended to "squish" 
> things in odd directions.
> 
> Kat
> <kat@redtrollforge.com>

Have you seen the X-rays?

I have seen some dress reformers' redrawings, but
never the originals they purported to copy.

I'd love a citation.


Pictures of 'professional beauties' of the 1870' &
80's sometimes had some pretty heavy retouching of the
waists to look narrower.

Ann in CT


	
		
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] foaming at the mouth
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Hi.
I have read your topic with interrest.
In judging others or disagree in a matter that you think you are more
knoledged in than others i would like to tell you a little story.
Here in Denmark we have a lady i shall not name her, wich is running one of
our museums with many costumes. She often is asked things in television and
the like.
One day i read in her book about the portrait i have on my second homepage,
the white dress at the entering site.
She claimed that this dress was a type of dress called a Brunswick dress. I
was shocked when i read this, i have always known that this dress is a
francaise dress.
Until one day i went to the museum and studyed the painting very carefully.
The painting is rather big so i could se many details. And guess what! She
actually was right.
For all my life i had always thoaght this was a robe a la francaise, but now
i saw it i had to eat this back again.
It was clearly seen at her right shoulder, that there was a hood in the back
of this dress.
Well for a long time i did not trust this woman in her books because when
she could make such a silly mistake, how would all the other things whe told
the public be to trust.
What i want to tell you with this email is, that our buisiness is very very
difficult to make any facts. What seems to be this, could very well be
that.....
And it is so easy to fall over a person who is not as knolledged as
yourself.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Market wallets?
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you know I swear that I have seen something like this in the japanese
stuff I have been reading.   I have a friend who is half japanese and I
was reading different pages about patterns for garments and bags and the
historical use of them and these really date.  it wouldn't be in the
same area of the world, but I think this is interesting.  I BELIEVE the
japanese bags were not slit though, but double folded sort of like
double fold tape so that the contents were tucked under the folds.  
	Kitty

Heather Rose Jones wrote:
> 
> At 11:15 AM -0400 5/22/04, Lauren Walker wrote:
> >Hi, Kitty, Hi,  Kathleen,
> >The wallet closes by being twisted in the middle, sort of the way my cousin
> >used to make diapers small enough for her newborn son by twisting the part
> >that went betwixt his teensy legs. The thing I find spiffy about the market
> >wallet is that the opening is just a lengthwise slit; it gets closed in use
> >by the twist and going over the shoulder.
> >
> >My wallet is about 14" wide by about 40" long. Didn't find or use a pattern,
> >but modeled it off of this one:
> >
> >http://www.18cnewenglandlife.org/18cNEL/wallets.htm#Market%20Wallet
> >
> >modified to fit my gear and my height and the size of the piece of hemp
> >canvas I had.
> 
> Ah, ok, that _is_ the lineal descendent of the bags I was describing
> in my previous post.  I'm not having any luck finding examples
> on-line at the moment, but the examples I use as comparative material
> in my article on shepherds purses are:
> 
> - scene of reapers from Egerton MS 2019
> - scenes of mowers and reapers from the Hours of Henry VIII
> - travelers in an annunciation scene in frescos at Atri, Italy
> 
> I've found examples of the style at least as early as the 14th
> century, and they're fairly common in the 15-16th centuries.  (My
> research on this project doesn't go much beyond the 16th c. because
> the artifact I'm focusing on doesn't show up much beyond that.)
> 
> Heather
> --
> *****
> Heather Rose Jones
> hrjones@socrates.berkeley.edu
> *****
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From h-costume-bounces@indra.com  Sat May 22 15:52:50 2004
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From: Kitty Felton <basyefelton@floodcity.net>
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Subject: Re: [h-cost] Market wallets?
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you know I swear that I have seen something like this in the japanese
stuff I have been reading.   I have a friend who is half japanese and I
was reading different pages about patterns for garments and bags and the
historical use of them and these really date.  it wouldn't be in the
same area of the world, but I think this is interesting.  I BELIEVE the
japanese bags were not slit though, but double folded sort of like
double fold tape so that the contents were tucked under the folds.  
	Kitty

Heather Rose Jones wrote:
> 
> At 11:15 AM -0400 5/22/04, Lauren Walker wrote:
> >Hi, Kitty, Hi,  Kathleen,
> >The wallet closes by being twisted in the middle, sort of the way my cousin
> >used to make diapers small enough for her newborn son by twisting the part
> >that went betwixt his teensy legs. The thing I find spiffy about the market
> >wallet is that the opening is just a lengthwise slit; it gets closed in use
> >by the twist and going over the shoulder.
> >
> >My wallet is about 14" wide by about 40" long. Didn't find or use a pattern,
> >but modeled it off of this one:
> >
> >http://www.18cnewenglandlife.org/18cNEL/wallets.htm#Market%20Wallet
> >
> >modified to fit my gear and my height and the size of the piece of hemp
> >canvas I had.
> 
> Ah, ok, that _is_ the lineal descendent of the bags I was describing
> in my previous post.  I'm not having any luck finding examples
> on-line at the moment, but the examples I use as comparative material
> in my article on shepherds purses are:
> 
> - scene of reapers from Egerton MS 2019
> - scenes of mowers and reapers from the Hours of Henry VIII
> - travelers in an annunciation scene in frescos at Atri, Italy
> 
> I've found examples of the style at least as early as the 14th
> century, and they're fairly common in the 15-16th centuries.  (My
> research on this project doesn't go much beyond the 16th c. because
> the artifact I'm focusing on doesn't show up much beyond that.)
> 
> Heather
> --
> *****
> Heather Rose Jones
> hrjones@socrates.berkeley.edu
> *****
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There is no reason to assume all redrawings are automatically 
incorrect--this is similar to the reenactorism that "all secondary 
sources are incorrect," which professional historians do not assert by 
any means.

Frasn

>Have you seen the X-rays?
>
>I have seen some dress reformers' redrawings, but
>never the originals they purported to copy.
>
>I'd love a citation.
>
>
>Pictures of 'professional beauties' of the 1870' &
>80's sometimes had some pretty heavy retouching of the
>waists to look narrower.
>
>Ann in CT
>
>
>	
>		
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>
>  
>

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> What i want to tell you with this email is, that our buisiness is very
very
> difficult to make any facts. What seems to be this, could very well be
> that.....

Thank you Bjarne. I think we need to keep this in mind when we deal with
other "knowledgeable" people.
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No, but if they were in books *against* corsetry, I'd consider the
possiblilty that *maybe* the author *might* have redrawn it a bit more
exagerated than it would have been. I'd be curious to compare this with
redrawings found in books that were *for* corsetting.

Also, the fact that the bones (or organs, for that matter) were displaced is
not an indication that the woman was in pain or unhealthy.

I agree that there is no reason to assume that all redrawings are
automatically incorrect, but I never, ever trust them without seeing the
original (or a similar primary source that says the same thing), because
I've seen too many faulty ones.

----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 4:11 PM
Subject: Re: [h-cost] Re: Weight of underwear


> There is no reason to assume all redrawings are automatically
> incorrect--this is similar to the reenactorism that "all secondary
> sources are incorrect," which professional historians do not assert by
> any means.
>
> Frasn
>
> >Have you seen the X-rays?
> >
> >I have seen some dress reformers' redrawings, but
> >never the originals they purported to copy.
> >
> >I'd love a citation.
> >
> >
> >Pictures of 'professional beauties' of the 1870' &
> >80's sometimes had some pretty heavy retouching of the
> >waists to look narrower.
> >
> >Ann in CT
> >
> >
> >
> >
> >__________________________________
> >Do you Yahoo!?
> >Yahoo! Domains – Claim yours for only $14.70/year
> >http://smallbusiness.promotions.yahoo.com/offer
> >_______________________________________________
> >h-costume mailing list
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> >http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
> >
>
> _______________________________________________
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>Also, the fact that the bones (or organs, for that matter) were displaced is
>not an indication that the woman was in pain or unhealthy.
>  
>

Then one might ask why some women--a  minority, perhaps, but there was a 
real and long-lasting movement--chose to wear reform garments, and 
advocate them to others.  Surely they knew how comfortable and/or 
healthy they personally felt?

>I agree that there is no reason to assume that all redrawings are
>automatically incorrect, but I never, ever trust them without seeing the
>original (or a similar primary source that says the same thing), because
>I've seen too many faulty ones.
>
>  
>
>  
>

Have you ever seen original X-rays of Victorian women's torsos, whether 
with deformed ribcages or not?   For that matter, are the originals of 
most redrawn or photographed art and artifacts readily available to you, 
or likely to be?

For modern analyses of dress reform, I'd suggest Patricia Cunnington's 
_Reforming Women's Fashion, 1850-1920_ and Stella Mary Newton's _Health, 
Art, and Reason:  Dress Reformers of the 19th Century_. 

Fran





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it seems to me I read somewhere that it was considered indecent (in some
place at some time in the last 200 years or so which is my main
interest) to wear less than 3 petticoats and six or eight was not
unheard of.  also, if a petticoat was made of wool, for winter warmth,
it would weigh considerably more than a cotton or linen one, wouldn't
it?

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At 9:17 PM -0600 5/21/04, h-costume-request@indra.com wrote:
>I was at JoAnn's today, and Simplicity was the only pattern company NOT on
>sale for 99cents or 75% off(Vogue).  Where is the sale???
>-Megan

Uh In MD, I had to ask for the 99 cent price...maybe the new sales 
help was being *too* nice???
Ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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In a message dated 5/22/04 4:38:25 PM Central Daylight Time, 
fran@lavoltapress.com writes:
Then one might ask why some women--a  minority, perhaps, but there was a 
real and long-lasting movement--chose to wear reform garments, and 
advocate them to others.  Surely they knew how comfortable and/or 
healthy they personally felt?


There's a difference between being uncomfortable, and being in pain.  I don't 
wear corsets often enough to be able to say that I find them extremely 
comfortable, but they do not cause me actual pain when I wear them.  They are far 
enough from my personal comfort zone (I'm a tank tops and workout pants kinda 
girl) that I don't wear them unless I am in garb that requires one to achieve 
the correct appearance.

I'm know there were proponents of reform garb who were concerned about the 
overall health of women, but I imagine there were also women who simply really 
liked the freedom and elevated comfort of reform garments.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
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While discussing the weight of underwear Sue Clemenger wrote:
> 
> Oh, I agree, definitely! We grew up with different clothes and ways of
> moving, and the whole bit.  And I have no doubt that were I to make new
> 16th c. clothing (which I actually haven't worn in years), that my
> construction methods and materials would be significantly different from
> those I used 11 years ago.  I'd be using linens, for one, and probably
> reeds for the pair of bodies, and either rope or willow for the
> farthingale.  It would definitely be lighter!

To which I ask....

so what would be appropriate for an middle/late 19th century  costume?  
Did the middle class still wear linen, or was it cotton?   where did
linsey/woolsy come in, was it over and done with by then?   did women
wear it or did only men?  

 Would she wear cotton dresses or wool, Linen or silk?   


and from there I go on to inquire... do I understand your terminology
right?  is a crinoline a peticoat with netting  attached to it to give
the skirt over it poof?   and what era was this crinoline worn?   I know
at some point that lots of petticoats gave the shape to the skirts, when
were hoops introduced and where did the crinoline fit in?

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In a message dated 5/22/04 1:21:15 PM Central Daylight Time, 
mooncat@in-tch.com writes:
I'd be interested to hear more about this from folks who know more about 
reform dress and the philosophies behind it.  Heck, I don't even know if 
Alcott was a part of that movement (shame on me...I think a trip to the 
library's in order today!)
--sue


http://www.louisamayalcott.org/

I LOVE this site, you might find it interesting as well.  It has a virtual 
tour of Orchard House, and links to some really fascinating biographical 
information on Louisa May Alcott.  I had always kind of assumed that she was more or 
less Jo, but her story is both far more interesting and in some ways more 
tragic.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
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Subject: Re: [h-cost] Re: Weight of underwear
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>
>There's a difference between being uncomfortable, and being in pain.  I don't 
>wear corsets often enough to be able to say that I find them extremely 
>comfortable, but they do not cause me actual pain when I wear them.  They are far 
>enough from my personal comfort zone (I'm a tank tops and workout pants kinda 
>girl) that I don't wear them unless I am in garb that requires one to achieve 
>the correct appearance.
>  
>
Yes, but here you're judging 19th-century corset wearing by your own 
experience, which is not necessarily a valid guide.

>I'm know there were proponents of reform garb who were concerned about the 
>overall health of women, but I imagine there were also women who simply really 
>liked the freedom and elevated comfort of reform garments.
>
>
>  
>

Is what you "imagine" about 19th-century corset wearing any more valid 
than what anyone else may "imagine"?  Chat is fine, it's just no basis 
to use to "correct" anyone else with a different opinion.

Fran

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Subject: Re: [h-cost] Market wallets?
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I've seen similar 19thC American Indian wallets (the double folded sort),
though I can't remember at the moment which tribe.


----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
. . .
> same area of the world, but I think this is interesting.  I BELIEVE the
> japanese bags were not slit though, but double folded sort of like
> double fold tape so that the contents were tucked under the folds.
> Kitty

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> Have you seen the X-rays?

Yes, I have. They were in a medical book.

> I have seen some dress reformers' redrawings, but
> never the originals they purported to copy.

These were not in dress reformer's redrawings or a costume book. They 
were in medical books of the time. The drawings were not done to 
sensationalize anything but just to show what was "normal" in women. 
The more recent of the two books actually had tipped in "photographs" 
of the xrays. (The first xray was taken around 1896 but these were a 
decade or so later.) The other were medical illustrations done by 
surgeons for teaching purposes.

If I had found these in a costume book or a book meant for the lay 
public, then I would have as much scepticism as you have. But the 
fact is that they were in a medical book (similar to what modern 
medicine has like Harrison's, Cecil's or Nelson's.)

I no longer have the books so I can't give you a citation. They had 
to be discarded after a storage room was flooded and the books 
ruined. I now have others which are older, but they are all early 
pediatric books. (So if you want to know how pediatric diseases were 
treated and general care of children in 1875, that I can still give 
you citations on.)

However, I have seen modern xrays of corsetted people as well. 
(Doctors show the weirdest things at CME conferences.)

If you are truly interested, you might try going to some of the 
medical schools where they have medical books of historic interest. 
They would probably be in the rare book section at this point.

Kat
<kat@redtrollforge.com>


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>These were not in dress reformer's redrawings or a costume book. They 
>were in medical books of the time. The drawings were not done to 
>sensationalize anything but just to show what was "normal" in women. \
>  
>
 By "normal," did they mean women whose bodies had not been altered by 
corsetry?

Fran

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Actually, linen is much heavier than wool, for the same thickness of fabric.
I think even cotton is heavier than wool. Wool used in garmets would
probably have been pretty thin, so it wouldn't have weighted more than the
same thing made of cotton.

----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 5:40 PM
Subject: [h-cost] Re: Weight of underwear


> it seems to me I read somewhere that it was considered indecent (in some
> place at some time in the last 200 years or so which is my main
> interest) to wear less than 3 petticoats and six or eight was not
> unheard of.  also, if a petticoat was made of wool, for winter warmth,
> it would weigh considerably more than a cotton or linen one, wouldn't
> it?
>
> _______________________________________________
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Subject: Re: [h-cost] Re: Weight of underwear
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> >Also, the fact that the bones (or organs, for that matter) were displaced
is
> >not an indication that the woman was in pain or unhealthy.
> >
> Then one might ask why some women--a  minority, perhaps, but there was a
> real and long-lasting movement--chose to wear reform garments, and
> advocate them to others.  Surely they knew how comfortable and/or
> healthy they personally felt?

Yes, but we can't know that. Again, organ or bone displacement can not be
equated with discomfort and/or illness. You could make the hypothesis that
women who chose to wear reform garments never came to the point where their
bones were deformed.

I'm not saying that those garments didn't cause pain or illness. They did,
to some women at least (and the fact that I don't think it was generalized
really doesn't matter in this conversation). I'm just saying that the only
thing you can say by looking at a deformed X-ray is "that woman had deformed
bones" or "that women's organs were displaced". There is no real basis for
you to say "that woman was in pain" or "that woman was ill".

If you look at an X-ray of a pregnant woman, you'll see that her bones and
organs are very far from their normal place. She's not ill because of it.
Granted, that's natural displacement, while that caused by a corset isn't.
But the fact that the organs or bones are displaced doesn't indicate illness
or discomfort. (Even if a pregnancy IS uncomfortable... to some extent :-)

> >I agree that there is no reason to assume that all redrawings are
> >automatically incorrect, but I never, ever trust them without seeing the
> >original (or a similar primary source that says the same thing), because
> >I've seen too many faulty ones.

> Have you ever seen original X-rays of Victorian women's torsos, whether
> with deformed ribcages or not?   For that matter, are the originals of
> most redrawn or photographed art and artifacts readily available to you,
> or likely to be?

That's not the point. The point is, I might do research with secondary
sources, but I'll never trust them. You can, if you wish. I don't.

And this conversation is starting to run around in circles... so I'll stop
now.

> For modern analyses of dress reform, I'd suggest Patricia Cunnington's
> _Reforming Women's Fashion, 1850-1920_ and Stella Mary Newton's _Health,
> Art, and Reason:  Dress Reformers of the 19th Century_.

Sorry, but I'm not really interested in this period.
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Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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> fashionably restrictive clothing by her new guardian.  It's been decades
> since I've read the book, and I'm not at all versed in much of 19th c.
> anything, but I seem to recall that she (the heroine) wasn't corseted,
> either, or had a more healthy corset, or something....

The supposed "health corsets" were, in fact, the (in)famous S-bend corsets.
They were "supposed" to be more healthy, but I believe the're actually
worse...
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Subject: Re: [h-cost] Re: Weight of underwear
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> >These were not in dress reformer's redrawings or a costume book. They
> >were in medical books of the time. The drawings were not done to
> >sensationalize anything but just to show what was "normal" in women. \
> >
> >
>  By "normal," did they mean women whose bodies had not been altered by
> corsetry?
>

I think just about everyone wore corsets. Corset-wearing was normal. Some
medical texts even advocate corset wearing by saying something around the
lines of "women wouldn't be able to walk upright without them". Breathing
was thought to occur differently in men and women because women wore
corsets. By "normal", you mean just that, a "normal" woman of the time,
wearing a corset, of course. Someone not wearing a corset would have to be
mentally or physically ill, or pregnant, so that wouldn't count as someone
"normal".
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Subject: [h-cost] The Victorian corset debate
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I've been reading the story of Bice's frustration with ill-informed docents,
and the subsequent debate re: whether claims of deformation by corsetry have
any basis in fact, how to enlighten uninformed museum personnel, etc. Here's
my rough take:

1) While I don't think that Victorian undergarments were grossly
disfiguring, threw the wearer off balance, or that ribs were removed to
get/retain the fashionable hourglass (I think Valerie Steele's "The Corset"
debunked most of the more extreme myths), I do think Fran has a point that
corsets worn from childhood onwards are going to have some kind of permanent
(even if not extreme) effect on the shape of the body. In adulthood - who
knows? (Tangential: I remember reading in the Laura Ingalls "Little House"
series that Laura didn't start wearing a corset until 16, and her Ma made
her wear it at night to make up time. She hated it and always took it off.
Does anyone else remember this? I don't have the book in front of me at the
moment).

2) There is new research coming out all the time and I'm sure the museum
curators have a hard enough time keeping up, let alone handing the
information down to the docents.

3) Definitely send a letter, but a gentle one, not a nasty one. It also irks
me that inaccurate information is being distributed under the guise of
historical information, but yelling and screaming never converted anyone!
Recommend some of the latest research and go back in a couple of years and
see what (if anything) happened.

4) The confrontational part of me says - yes, dress up in full Victorian
gear and tour the museum, showing your full balance and lack of crushed
ribcages ;)

Just my $.02

Allison T.

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>
>I'm not saying that those garments didn't cause pain or illness. They did,
>to some women at least (and the fact that I don't think it was generalized
>really doesn't matter in this conversation). I'm just saying that the only
>thing you can say by looking at a deformed X-ray is "that woman had deformed
>bones" or "that women's organs were displaced". There is no real basis for
>you to say "that woman was in pain" or "that woman was ill".
>  
>

I am in fact not saying that all Victorian women were "in pain" or 
"ill."  What I am saying is that a long-standing dress reform movement 
makes it clear that its followers, who often asserted that fashionable 
clothing was heavy and that corsets were bad for the health felt that 
were advantages to reform dress, and there is a fair amount of existing 
literature to this effect. 

>If you look at an X-ray of a pregnant woman, you'll see that her bones and
>organs are very far from their normal place. She's not ill because of it.
>Granted, that's natural displacement, while that caused by a corset isn't.
>But the fact that the organs or bones are displaced doesn't indicate illness
>or discomfort. (Even if a pregnancy IS uncomfortable... to some extent :-)
>  
>
I don't see that this is a basis to say that Victorian women who claimed 
that fashionable dress was uncomfortable or that it affected their 
health were mistaken or lying.  Surely they were in the best position to 
know how they felt?

>That's not the point. The point is, I might do research with secondary
>sources, but I'll never trust them. You can, if you wish. I don't.
>  
>
There is a level of analysis between total trust and total distrust of 
anything. I would never say "All secondary (or primary) sources are 
reliable (or unreliable).  I would never say "All information in this 
one source is reliable (or unreliable)."  It is far too simplistic to 
throw everything into the same basket.  It is also simplistic to think 
there is any way to avoid analysis of information.  But just because you 
analyze a source does not mean you are superior to it.

Fran

>
>  
>

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But corset wearing is by no means identical to tight lacing.  I would 
assume that a long period of tight lacing is far more likely to modify 
the body permanently.

Fran

>I think just about everyone wore corsets. Corset-wearing was normal. Some
>medical texts even advocate corset wearing by saying something around the
>lines of "women wouldn't be able to walk upright without them". Breathing
>was thought to occur differently in men and women because women wore
>corsets. By "normal", you mean just that, a "normal" woman of the time,
>wearing a corset, of course. Someone not wearing a corset would have to be
>mentally or physically ill, or pregnant, so that wouldn't count as someone
>"normal".
>
>
>  
>

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There were many other types of corsets and alternative corsets that were 
supposed to be conducive to health in one way or another. 

Fran
http://www.lavoltapress.com

>The supposed "health corsets" were, in fact, the (in)famous S-bend corsets.
>They were "supposed" to be more healthy, but I believe the're actually
>worse...
>_______________________________________________
>
>  
>

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..."unconventional...bloomers" I was surprised to see the number of these
costumes that appear in Severa's photos from the 19th C.It might appear that
some women did embrace that particular oddity with some pride when they had
their photos taken, in a period when other women were conventional indeed.
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 12:57 PM
Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)


> Also, I think the concept of "this is what my reproduction clothes
> weigh/feel like to wear" is not an entirely valid or complete evidence
> of what people's clothes were like or felt like in any historic period.
> Victorian corsets were put on females whose bones were still growing,
> when bones are far easier to reshape, and sometimes with the express
> purpose of ensuring a small waist/fashionable figure in adulthood.
> Furthermore, I believe such reshaping requires pretty constant wearing
> of the corset, at least during the day.  (Such reshaping of bones by a
> device is still often done, in the form of dental braces.)  Putting on
> the corset as an adult for occasional weekend and/or evening events
> would not, I think, reshape the bones.
>
> It should also be remembered that many historic reenactment events take
> place either indoors in buildings with central heating or outdoors in
> warm weather.  In other words, in situations where it is unnecessary to
> wear heavy clothing for warmth, except perhaps a walk to a heated car.
>
> Getting back to reform dress, I don't think it would have had any
> adherents to speak of if women (and the doctors who advocated it) felt
> that its claims that corsets could deform the figure and that heavy
> garments impeded the wearer, were completely untrue.  I also suspect
> there were degrees of adherence to reform principles.  Many women
> considered highly unconventional outfits like bloomers (as day wear,
> forms of them did catch on for exercise wear) to be extreme.  On the
> other hand, changes like lacing less tightly, wearing less
> underclothing, suspending petticoat weight from the shoulders (which I
> would find uncomfortable, but it was one reform idea), and wearing wool
> next to the skin (which I wouldn't care for, but it was considered
> healthful for a time), changes like this were less public and would not
> have labeled the wearer as eccentric.
>
> Fran
> http://www.lavoltapress.com
>
>
> >And some of the concepts are from xrays taken of the women (when
> >xrays were still pretty new) and from autopsies. I had a medical book
> >from the time period who showed drawings of the autopsies and I had
> >another one from around the turn of the century which showed xrays.
> >The more wasp waisted the corset was, the more it tended to "squish"
> >things in odd directions.
> >
> >They also tended to make the women breath differently than men (which
> >probably contributed to some of those women being more prone to the
> >"vapors" and passing out.) The medical books describe the "mechanism
> >of breathing" very differently for men and women. It certainly
> >hampered their understanding of physiology (which was not well
> >understood at the time so they were doing a lot of investigation.)
> >
> >
> >
> >
>
> _______________________________________________
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Why do I get the idea that we are still making the same kinds of judgements
and voicing similar disatisfactions as on the subject of the 'Colonial
House'? I guess some of us find our entertainment, or make it in diverse
ways.  Afterall, that is part of being human.
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 1:22 PM
Subject: Re: [h-cost] Foaming at the mouth


> I guess I just don't see where this has happened here. If we were talking
>
> >about walking up to someone on the street and saying, "give me a list of
5 facts
> >regarding Victorian era customs" and they stumbled through it or gave
> >misinformation, then I think we'd be unjustified in feeling concerned
about their
> >lack of veracity.
> >
> >
> Why?  I'm not at all concerned--even though I try to get my facts
> correct as much as possible.  The actions of some docents in some museum
> I am unconnected with are simply not my business.
>
> >But since the tour guides in a historical museum are putting forth their
> >statements as fact
> >
> And as I've been trying to point out, some of tour guides' statements
> are not without basis.
>
> > and since the average tour participant will most likely take
> >the statements at face value
> >
> Why?  There are an enormous number of sources of information publicly
> available, and most modern people are by no means naive about the fact
> that some information they receive is incorrect.  That's assuming
> they're even interested enough in the subject to care, and that a museum
> tour is anything more than a pleasant afternoon whose details they will
> soon forget.
>
> >(
> >I would not advocate intentionally trying to be "snotty" (although to
give
> >credit, I think the person who used that term was being facetious) to
anyone for
> >any reason, but I do not feel that it is out of line to be upset about
> >blatant misinforming, or to try to figure out what action, if any, is
appropriate to
> >express such concern.
> >
> >
>
> Well, I do.  Other people and institutions run things their way, and it
> is not everyone else's business to supervise them all.
>
> Fran
>
>
> >
> >
> >
>
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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] Foaming at the mouth
Date: Sat, 22 May 2004 23:16:24 -0400
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Maybe you could work harder at becoming one of the 'in' crowd where you
might have opportunity to help them update their interpretation.
Kathleen
----- Original Message ----- 
From: "Bice" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 1:18 PM
Subject: Re: [h-cost] Foaming at the mouth


> I am more concerned about the info being given to children and BOCES
> students. It wasn't simply the clothing it was that he didn't know who
> Eastlake the company who designed the furniture was. Had no clue about
> Japonesque and it's influences. Called the house Ren Revival when it is in
> fact Italianate. And various other mistake I *know* he didn't learn at the
> hands of some of the wonderfully smart people there who I know from my
> grandfather's auction. And I'm sorry Fran that you see an ulterior motive
to
> my being so upset and the information being given out by someone who
should
> know better.
>
> ----- Original Message ----- 
> From: <Tiffsewsstuff@aol.com>
> To: <h-costume@indra.com>
> Sent: Saturday, May 22, 2004 1:06 PM
> Subject: Re: [h-cost] Foaming at the mouth
>
>
> > In a message dated 5/22/04 11:57:54 AM Central Daylight Time,
> > fran@lavoltapress.com writes:
> > I'm not judging what she has or has not actually done, but the practice
> > of "let's get together and run down people who are more ignorant than we
> > are."   I personally am not a like-minded person in this respect.
> >
> > Fran
> >
> >
> > I guess I just don't see where this has happened here.  If we were
talking
> > about walking up to someone on the street and saying, "give me a list of
5
> facts
> > regarding Victorian era customs" and they stumbled through it or gave
> > misinformation, then I think we'd be unjustified in feeling concerned
> about their
> > lack of veracity.
> >
> > But since the tour guides in a historical museum are putting forth their
> > statements as fact, and since the average tour participant will most
> likely take
> > the statements at face value (and assume that the tour guide has done
his
> or
> > her homework), I think it's fair for us to expect a higher level of
> education
> > and truth from them; and to be concerned by such perpetuating of
> ignorance.
> >
> > I would not advocate intentionally trying to be "snotty" (although to
give
> > credit, I think the person who used that term was being facetious) to
> anyone for
> > any reason, but I do not feel that it is out of line to be upset about
> > blatant misinforming, or to try to figure out what action, if any, is
> appropriate to
> > express such concern.
> >
> > -Tiffany
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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> >  By "normal," did they mean women whose bodies had not been altered
> >  by  corsetry?

No, normal because that's what you'd see on a routine basis in your 
practice. 
 
> I think just about everyone wore corsets. Corset-wearing was normal.
> Some medical texts even advocate corset wearing by saying something
> around the lines of "women wouldn't be able to walk upright without
> them". Breathing was thought to occur differently in men and women
> because women wore corsets. By "normal", you mean just that, a
> "normal" woman of the time, wearing a corset, of course. Someone not
> wearing a corset would have to be mentally or physically ill, or
> pregnant, so that wouldn't count as someone "normal".

Exactly. 

The medical books I've seen didn't say "oh, this is so wrong." It was 
more like "this is what real people you see in your practice are 
like, so you need to know this is what to expect."

But I want to emphasize that this has nothing to do with "tight 
lacing". This is just everyday normal wear, as opposed to people 
trying to have the smallest waist or other extreme. It was more to 
"keep the back straight" and other things felt to be "healthy."

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Sat May 22 23:28:36 2004
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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] Re: Weight of underwear
Date: Sat, 22 May 2004 23:32:49 -0400
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So what about the men who did wear corsets ?
Kathleen
----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 22, 2004 10:18 PM
Subject: Re: [h-cost] Re: Weight of underwear


>
> > >These were not in dress reformer's redrawings or a costume book. They
> > >were in medical books of the time. The drawings were not done to
> > >sensationalize anything but just to show what was "normal" in women. \
> > >
> > >
> >  By "normal," did they mean women whose bodies had not been altered by
> > corsetry?
> >
>
> I think just about everyone wore corsets. Corset-wearing was normal. Some
> medical texts even advocate corset wearing by saying something around the
> lines of "women wouldn't be able to walk upright without them". Breathing
> was thought to occur differently in men and women because women wore
> corsets. By "normal", you mean just that, a "normal" woman of the time,
> wearing a corset, of course. Someone not wearing a corset would have to be
> mentally or physically ill, or pregnant, so that wouldn't count as someone
> "normal".
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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So if there were women whose skeletons had been deformed by tight 
lacing, that is not what these books were trying to show?  Such 
deformity might have been sometimes seen, but that is not what was 
chosen as an example in these books?

Fran


>The medical books I've seen didn't say "oh, this is so wrong." It was 
>more like "this is what real people you see in your practice are 
>like, so you need to know this is what to expect."
>
>But I want to emphasize that this has nothing to do with "tight 
>lacing". This is just everyday normal wear, as opposed to people 
>trying to have the smallest waist or other extreme. It was more to 
>"keep the back straight" and other things felt to be "healthy."
>
>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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..."museum curators have a hard time keeping up"...In this area, there are a
number of historical houses that fall short of being museums.  The director
and volunteer staff are holding 'open house' in order to maintain the
property because of it's Historical value.  Under these circumstances, it is
very difficult to maintain true control over the rough script that is
available to the guides.
Kathleen
----- Original Message ----- 
From: "A.Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Sent: Saturday, May 22, 2004 9:56 PM
Subject: [h-cost] The Victorian corset debate


> I've been reading the story of Bice's frustration with ill-informed
docents,
> and the subsequent debate re: whether claims of deformation by corsetry
have
> any basis in fact, how to enlighten uninformed museum personnel, etc.
Here's
> my rough take:
>
> 1) While I don't think that Victorian undergarments were grossly
> disfiguring, threw the wearer off balance, or that ribs were removed to
> get/retain the fashionable hourglass (I think Valerie Steele's "The
Corset"
> debunked most of the more extreme myths), I do think Fran has a point that
> corsets worn from childhood onwards are going to have some kind of
permanent
> (even if not extreme) effect on the shape of the body. In adulthood - who
> knows? (Tangential: I remember reading in the Laura Ingalls "Little House"
> series that Laura didn't start wearing a corset until 16, and her Ma made
> her wear it at night to make up time. She hated it and always took it off.
> Does anyone else remember this? I don't have the book in front of me at
the
> moment).
>
> 2) There is new research coming out all the time and I'm sure the museum
> curators have a hard enough time keeping up, let alone handing the
> information down to the docents.
>
> 3) Definitely send a letter, but a gentle one, not a nasty one. It also
irks
> me that inaccurate information is being distributed under the guise of
> historical information, but yelling and screaming never converted anyone!
> Recommend some of the latest research and go back in a couple of years and
> see what (if anything) happened.
>
> 4) The confrontational part of me says - yes, dress up in full Victorian
> gear and tour the museum, showing your full balance and lack of crushed
> ribcages ;)
>
> Just my $.02
>
> Allison T.
>
> _______________________________________________
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> h-costume@mail.indra.com
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>

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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Corsetry and changes to the body (was Re: Weight of underwear (was
	Re: [h-cost] Foaming at the mouth))
Date: Sun, 23 May 2004 13:52:31 +1000
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Actually I found an article on the effects corsetry has on the body, it's
very pro corsetry (as is the whole site) but it gives you a good idea of
exactly what happens in situations of long term tightlacing check it out at
http://www.staylace.com/medicaladvice/med_cthb.htm
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Date: Sat, 22 May 2004 23:02:42 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Weight of underwear
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On Sat, 22 May 2004, Lavolta Press wrote:

> So if there were women whose skeletons had been deformed by tight
> lacing, that is not what these books were trying to show?  Such
> deformity might have been sometimes seen, but that is not what was
> chosen as an example in these books?

I can't speak for Kat, but my understanding is that the body structures
that the medical books showed as "normal" examples -- because that's what
was commonly seen in the women these doctors examined -- may be what we
would call "deformed" today. And it may be that reformers at the time were
also calling these examples "deformed," but that doctors did not consider
these examples to be deformities, because they didn't have a non-deformed
basis of comparison.

My experience in writing on medical history is that the doctors who
created a lot of the definitions for "normal" in medicine in the 19th and
early 20th centuries were basing their assessments on limited populations
that were not necessarily representative of all humans.  This is something
that modern medicine has had to deal with -- the norms that were defined
based on white European subgroups don't reflect the reality of a
multicultural population.

Exactly which subgroups were used for the baseline would depend on what
was being studied. I believe Freud based a lot of his initial work on what
he heard from upper-class urban German women coming to him for talk
therapy. Many initial studies of internal organs, bone structure, growth,
etc. were based on cadaver research, done on bodies of paupers who
couldn't afford burial (and thus tended to be malnourished or diseased).
Disease research has often been based on outbreaks in particular
communities, which might reflect a certain race, ethnicity, or class
level. Drug studies, until fairly recently, were routinely done on men --
often white men -- without much regard for the fact that many drugs behave
differently in women or members of other races. And so on.

So things that would have been considered "normal" by the doctors who
defined the term would not necessarily be "normal" in a larger sense, or
considered "normal" today. If all the women in a typical 19th century
urban middle-class practice had used corsets from girlhood and had all
experienced some degree of skeletal reshaping, then the doctors treating
them would have considered that "normal," and the books would have shown
their X-rays for reference on women's body structures without any
indication that this was the result of some deforming influence.

Kat can confirm whether I understood her point correctly...

--Robin


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Subject: Re: Corsetry and changes to the body (was Re: Weight of underwear
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We really haven't changed the conversation much over the years, these days
however the discussion is about underwire bras vs non underwire, sports
bras, or no bras at all...

Sheridan


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> So things that would have been considered "normal" by the doctors who
> defined the term would not necessarily be "normal" in a larger sense,
> or considered "normal" today. If all the women in a typical 19th
> century urban middle-class practice had used corsets from girlhood and
> had all experienced some degree of skeletal reshaping, then the
> doctors treating them would have considered that "normal," and the
> books would have shown their X-rays for reference on women's body
> structures without any indication that this was the result of some
> deforming influence.
> 
> Kat can confirm whether I understood her point correctly...
> 
> -Robin

You got it. 

Kat
<kat@redtrollforge.com>


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I said: 
> >The medical books I've seen didn't say "oh, this is so wrong." It 
was
> > more like "this is what real people you see in your practice are
> >like, so you need to know this is what to expect."
> >
> >But I want to emphasize that this has nothing to do with "tight
> >lacing". This is just everyday normal wear, as opposed to people
> >trying to have the smallest waist or other extreme. It was more to
> >"keep the back straight" and other things felt to be "healthy."

Fran asked:
> So if there were women whose skeletons had been deformed by tight
> lacing, that is not what these books were trying to show?  Such
> deformity might have been sometimes seen, but that is not what was
> chosen as an example in these books?

The lacing doesn't have to be all that tight to cause shaping of the 
body and changes in the internal structures. As Aubrey pointed out, 
pregnancy causes shifts of a similar sort (albeit in a different 
direction.)

The books weren't saying "this is what corseted women look like". 
They were saying "this is what a *woman* looks like" and comparing it 
to the male anatomy of the same area. Looking back with the knowledge 
we have now, it is pretty silly to think that this might be 
considered "normal" but keep in mind that it was considered "normal" 
to wear a corset. They didn't have a separate drawing to show what an 
uncorseted woman looked like. 

And the discussions of the mechanics of breathing were even 
considered different, even well into the 20th century. This was 
something they told us about during a discussion of the normal 
mechanics of breathing when I was in medical school (in the 70s. I 
don't know if they bother with history much now, but in those days we 
usually had quite a bit of history as an introduction.) They were 
discussing the 19th C "research" had impacted our knowledge in the 
present day. (And emphasizing how our current knowledge may someday 
be displaced by new methods of research.)

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Sun May 23 01:18:19 2004
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Date: Sun, 23 May 2004 01:14:04 -0400
From: Kitty Felton <basyefelton@floodcity.net>
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You know, all this talk of deformities and Nomality misses one point,
that some women didn't lace tightly, due to the same things we have
today.  some women would rather be fashionable than healthy, i.e. be
able to breathe easily, perform well and be competent, some would rather
be healthy than fashionable.  there were tomboys back then, even as now,
and that woman would have worn her corsets barely tight enough to stay
on if that were more comfortable because she didn't CARE about fashion
or opinion.   I grant you there would have been fewer of them with the
courage to do so, but I can't be convinced that rebels didn't exist.
today some women will wear stilettos for every day of her adult life and
some will wear earth shoes, and there's every other person in between. 
so I'm sure there WERE examples of Uncompressed bodies.   any person who
corseted but didn't tightlace would have had a body which was
uncompressed, undeformed.   It is inconcievable that a working woman for
instance could wash clothes or floors with tight lacing.   

because of these women, it is certain that evidence of proper female
anatomy was available for the doctor who wanted to know.   

and something else is really bugging me.   someone stated that just
because the bones were deformed and the organs misplaced didn't mean
that the person was in pain or unhealthy.   that is like saying that the
chinese women whose feet were wrapped from babyhood to maintain the tiny
foot were not unhealthy just because they couldn't walk, or just because
they didn't suffer pain as long as they remained in one place.   organs
which are missplaced can cause malfunctions, bones which are deformed
fail in their function of protecting the organs, or fail in supporting
the diaphram, fail in aiding proper breathing, and prevent that person
from functioning fully.   this does not say that that person had an
evident disease, it says that that person was almost certainly hampered
in some ways.   a woman who cared more for her sillhoette, her tiny
waiste or her delicate constitution (some considered it an asset) than
comfort would have laced tightly for fashions sake, just as women have
bowed before fashion from time immemorial in one way or another.  OThers
who cared more for comfort or her ability to function fully would have
laced no more tightly than she had to to maintain her version of
propriety.   

just as there are fifty differing opinions on that point on this list,
there were a thousand back then based on station in life, duties and
obligations and degree of vanity and insecurity in the particular
woman.   surely this is something you can acknowledge in women of other
ages and eras just as it is something you can acknowledge in today's
world, in this list, and viceversa.   
	Kitty

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] RE: Tailor's
Date: Sun, 23 May 2004 00:27:18 -0500
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So from what I can understand from this, someone refered to as a tailor in
the 12th cent. could have been male or female and then gradually became a
reference to a male sewer?

De

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

>Tailor = male sewer
>Seamstress + female sewer

OED  - Tailor
1. a. ‘One whose business is to make clothes’ (J.); a maker of the outer
garments of men, also sometimes those of women, esp. riding-habits, walking
costumes, etc. See also MERCHANT-TAILOR.  (Although historically the tailor
is the cutter, in the trade the ‘tailor’ is the man who sews or makes up
what the ‘cutter’ has shaped.)  1297 R. GLOUC. (Rolls) 6391 A robe he let
him ssape uerst of blod red scarlet there the ssarpe stones bi the stret is
tailors were..the tailors corue so moni peces uor is robe ne ssolde pow3e.

OED - Seamstress, Sempstress
A woman who seams or sews; a needlewoman whose occupation is plain sewing as
distinguished from dress or mantle-making, decorative embroidery, etc.  1644
HOWELL Twelve Treat. (1661) 47 A great masse of money and plate was brought
into the Guild-hall, the Semstresse brought in her silver Thimble,..the Cook
his Spoons.

However,

OED Seamster, Sempster
One who sews; one whose occupation is sewing, esp. the making and mending of
garments; a tailor, seamstress.
Originally a designation of a woman, but in OE. already applicable to a man.
Now only applied to one of the male sex, seamstress being commonly used for
a female sewer.
c995 in Kemble Cod. Diplom. VI. 131 Ane crencestræn, and ane semestran.

Marc

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It is the museum's duty and not the docents to make sure that info spewed
out by the docent is up to date and as accurate as possible. It is the
docents duty to learn their lines and be as informed as possible and not
adlib where knowledge is lacking.
If an error has been found it should be brought to the attention of the
museum so that they may evaluate and correct the error.

As for "details they will soon forget", people do remember. It may be
shelved into the back of their memory for a while but something will come up
and they may recite the little bit of misinformation that they heard from
that docent.
I remember years ago that a friend had visited a house museum and there were
1800 shoe hooks (the thingies that pulled the buttons of shoes through the
buttonholes) They were labeled as berry pickers and the shpeal was that high
class ladies would have berry picking tea parties and would use these hooks
to pick the berries so that they would not stain their white gloves.
I have other stories of museum misinformation embellishments that I can
understand the frustration felt by the original poster.

De
-----Original Message-----
I guess I just don't see where this has happened here. If we were talking


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In a message dated 5/22/04 7:48:10 PM Central Daylight Time, 
fran@lavoltapress.com writes:
Yes, but here you're judging 19th-century corset wearing by your own 
experience, which is not necessarily a valid guide.

No, I wasn't judging anything.  If you could stop putting your own spin onto 
what other people are saying for a moment, perhaps you would not feel the need 
to be correcting everyone constantly.  I was simply stating what my own 
personal experience has been.

"Is what you "imagine" about 19th-century corset wearing any more valid 
than what anyone else may "imagine"?  Chat is fine, it's just no basis 
to use to "correct" anyone else with a different opinion."

First, I would love it if you could show me *anywhere* that I have *ever* 
said that my opinion is more or less valid than anyone else's.  All I have done 
here from the get-go is "chat," I have "corrected" no one.  I simply expressed 
a different opinion from yours on the subject of the museum tour guide, and 
due to that, you seem to have decided to respond to every post I make and 
correct ME.  Personally, I see that as being guilty of the same thing that you are 
trying to accuse me of, but ::shrug:: ... I'm sure you'll correct me again.

In any case, I have absolutely no interest in this kind of pettiness, so I'll 
be moving forward.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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In a message dated 5/23/04 1:05:02 AM Central Daylight Time, 
otsisto@socket.net writes:
As for "details they will soon forget", people do remember. It may be
shelved into the back of their memory for a while but something will come up
and they may recite the little bit of misinformation that they heard from
that docent.


I totally agree.  I mean, where did the man's misinformation come from in the 
first place?  Probably from something that he heard or read, and decided to 
add into his tour.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <FOEDLIJMMAMODKMIIIMKKEMADEAA.brujne@creighton.edu>
Subject: Re: [h-cost] RE : OT-Proctor family
Date: Sun, 23 May 2004 09:15:57 -0400
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Salem has a number of museums and libraries (public and private) as well as
a group of historic homes accessible to the visitor.
Danvers? But again, library and other holdings of public records. These New
England towns have been interested for years in the matter of ancestry and
preservation of documents and other material of a historical content.
Another source is to research some of the more prominent Names that managed
to traverse generations, Like the Lowells (Lowele), Cabot, Wentworth,
Adam,Warren, and such.  Picked up a book on the Lowells yesterday by
Catherine Drinker Bowen that is documented and "chatty".
Kathleen
----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 4:25 PM
Subject: [h-cost] RE : OT-Proctor family


>
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lloyd Mitchell
> Sent: Friday, May 21, 2004 2:17 PM
> To: Historical Costume
> Subject: Re: [h-cost] Colonial House
>
> Kathleen:
>
> Does your daughter have an email address and would be willling to share
some
> info she has found in Danvers? Has she been to Salem and are there any
> sources of 17th costume history at either Danvers or Salem?
>
> I live in Omaha NE and will not be able to get enough time off work to
> travel to Danvers any time soon.
>
> Many thanks!
>
> Cindy Abel
>
> Re John Proctor, my daughter who has been doing genealogy found a lot of
> interesting stuff in historical documents held by the town of Danvers, Ma.
> Good luck,
> Kathleen
>
>
> _______________________________________________
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From: Katy Bishop <vintage@shore.net>
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Subject: Re: [h-cost] Foaming at the mouth
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Do you know anyone that can show up and take a tour in correct
late 19th century period dress?

Katy

On Sat, 22 May 2004, Bice wrote:

>I tried that. I really did. I kept saying he's old he doesn't know any
>better he's doing the best he can. Then he made a remark about corsets and
>reproduction organs and I simply walked out of the room to catch my breath
>and temper. There were other appalling faux pas that I'm just disturbed
>over. They take classes through this place!! And this area is a very
>cliquish sort of place so I doubt I can even get an "in" to even teach a
>class. As I said before I'm not in the realm of knowledge of some of ladies
>here but at least I know that compared to this guy I'm a freaking genius.
>=============================
>http://kristalori.com or http://swapking.com/hats/
>http://www.livejournal.com/users/jaie
>=============================
>----- Original Message -----
>From: "Lauren Walker" <lauren.walker@comcast.net>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Saturday, May 22, 2004 11:00 AM
>Subject: Re: [h-cost] Foaming at the mouth
>
>
>> When I was working on a degree in Popular Culture Studies, one of our
>> professors (I think the one who was on the board at Williamsburg) just
>> repeated over and over again, "Don't listen to docents. They're very nice,
>> but they are almost always volunteers with no training, and nothing they
>say
>> can be counted upon." His favorite example was being told that a
>> Federal-period house was built with wide interior doorways to accommodate
>> crinolines, which, of course, were not in style for another 30 years.
>>
>> While I sympathize utterly with your froth, I do find this mantra has
>> allowed me to visit more historic houses without committing assault or
>> having a heart attack. "They're nice, they mean well, they don't know
>> anything. They're nice, they mean well, they don't know anything. They're
>> nice, they mean well..."
>>
>> Lauren
>>
>>
>> > From: "Bice" <wantstobecorsetted1@hotmail.com>
>>
>> > I live in Oswego NY. We have this really great Victorian are home that
>is now
>> > a museum. I with a friend took the tour. Why am I foaming at the mouth?
>> >
>> > Well did you know Victorian women wore 11 pounds of underwear? Did you
>know
>> > they were so off balanced they kept their elbows on the table? Did you
>know
>> > that they had deformed bodies thanks to corsets?
>> >
>> > I'm so livid I'm shaking.
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>_______________________________________________
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>

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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> You know, all this talk of deformities and Nomality misses one point,
> that some women didn't lace tightly, due to the same things we have
> today.  some women would rather be fashionable than healthy, i.e. be
> able to breathe easily, perform well and be competent, some would
> rather be healthy than fashionable.  there were tomboys back then,
> even as now, and that woman would have worn her corsets barely tight
> enough to stay on if that were more comfortable because she didn't
> CARE about fashion or opinion.   I grant you there would have been
> fewer of them with the courage to do so, but I can't be convinced that
> rebels didn't exist. today some women will wear stilettos for every
> day of her adult life and some will wear earth shoes, and there's
> every other person in between. so I'm sure there WERE examples of
> Uncompressed bodies.   any person who corseted but didn't tightlace
> would have had a body which was uncompressed, undeformed.   It is
> inconcievable that a working woman for instance could wash clothes or
> floors with tight lacing.   
> 
> because of these women, it is certain that evidence of proper female
> anatomy was available for the doctor who wanted to know.   

You are assuming that women would be similar to women today. But that 
isn't necessarily the case. 

We do know that women were not always corseted, because we know about 
the "reformers". But they were considered outside the realm of normal 
for their time (and often were ostracized as well.)

However, even the lower classes were corsetted (although they 
probably had more problems with it because they often had to "make 
do" with corsets which were not made for them and so didn't fit as 
well.)

And actually, you can do anything in a corset that you can without a 
corset (as long as it isn't tight laced like some of the fetishers 
do.) I think that most women thing that " It is inconcievable that a 
working woman for instance could wash clothes or floors with tight 
lacing." because they couldn't do it. But if you've worn a corset for 
most of your life, you can do a lot more things than a modern woman 
can conceive. 

And it really doesn't take "tight lacing" to get changes in the rib 
cage, as long as it is done since you were fairly young. This is 
extremely different than what would happen to one of us who laces for 
just a special weekend.  

> and something else is really bugging me.   someone stated that just
> because the bones were deformed and the organs misplaced didn't mean
> that the person was in pain or unhealthy.   that is like saying that
> the chinese women whose feet were wrapped from babyhood to maintain
> the tiny foot were not unhealthy just because they couldn't walk, or
> just because they didn't suffer pain as long as they remained in one
> place. 

You have just used an *extreme* example. Women who had their feet 
bound *usually* had major foot problems, even if they just sat still. 
But it was something that the lower classes didn't do. Wearing 
corsets isn't like that. Since you can do anything in a corset that 
you can do out of one and since it was something that the lower class 
women did too, it's not the same kind of thing at all.

Many costumers make the mistake of assuming that just because 
something is true for their time, that a woman of the past would feel 
the same way. Unfortunately, that just isn't true. Cultural pressures 
can change the way a person feels. And until the culture changes, 
some things that we would find "inconceivable" are definitely more 
than conceivable.

Why do you think it was such a shocking thing in the 60s to "burn the 
bra"? Cultures were changing and people were trying to break out of 
those cultural norms. Many women found it "inconceivable" that anyone 
could go without a bra. People at the time actually thought that it 
was "unhealthy" to go without a bra. Cooper's droop was something 
considered "unhealthy" and women without bras would "obviously" get 
Cooper's droop. In fact, "Cooper's droop" was started as a medical 
thing. It was felt that the strands of tissue which support the 
breast (called "Cooper's ligaments") would "abnormally" stretch and 
cause problems if the breast is not properly supported.

Kat
<kat@redtrollforge.com>


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Since the pictures to which I refer could be put into
ascii art thus:

Natural & good waist:

 :)  happy face at top
)        (   uncompressed waist


Bad, Evil & Nasty corseted waist:

 :(   frowny face
 \/          ridiculous compressed waist


OK, my drawings aren't exactly to scale; I, too, am
exaggerating to show what I think is wrong with them.

I think, in the nineteenth century original, that the
redrawings are worthless as a source of how women's
bodies were actually reshaped by their corsets.

Propaganda frequently is unreliable & I believe the
original, as well as my ascii caricature, would
qualify.

Ann in CT 



--- Lavolta Press <fran@lavoltapress.com> wrote:
> There is no reason to assume all redrawings are
> automatically 
> incorrect--this is similar to the reenactorism that
> "all secondary 
> sources are incorrect," which professional
> historians do not assert by 
> any means.
> 
> Fran
> 
> >Have you seen the X-rays?
> >
> >I have seen some dress reformers' redrawings, but
> >never the originals they purported to copy.
> >
> >I'd love a citation.
> >
> >
> >Ann in CT


	
		
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Date: Sun, 23 May 2004 09:28:19 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: RE: [h-cost] RE: Tailor's
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At 12:27 AM -0500 5/23/04, otsisto wrote:
>So from what I can understand from this, someone refered to as a tailor in
>the 12th cent. could have been male or female and then gradually became a
>reference to a male sewer?


In Gustav Fransson's "Middle-English Surnames of 
Occupation", under "tailor", two of his examples 
are for women, although from two centuries after 
your point of interest:

Alic[ia] la Tayllour 1333
Matild[a] Taliour 1329

Note that one difficulty in interpreting 
occupational surnames is that the entire family 
of someone in an occupation may bear a surname 
referring to that occupation.  So it can't be 
ruled out that "Alicia la Tayllour" was so called 
because she was married to, or the daughter of, 
"Richard le Tayllour".  (This isn't entirely 
sexist -- the migration of originally feminine 
terms like baxster and brewster to gender-neutral 
use probably took the same path, combined with 
the tendency of occupations to be "family 
businesses".)

Heather


>De
>
>-----Original Message-----
>
>>Tailor = male sewer
>>Seamstress + female sewer
>
>OED  - Tailor
>1. a. ‘One whose business is to make clothes’ (J.); a maker of the outer
>garments of men, also sometimes those of women, esp. riding-habits, walking
>costumes, etc. See also MERCHANT-TAILOR.  (Although historically the tailor
>is the cutter, in the trade the ‘tailor’ is the man who sews or makes up
>what the ‘cutter’ has shaped.)  1297 R. GLOUC. (Rolls) 6391 A robe he let
>him ssape uerst of blod red scarlet there the ssarpe stones bi the stret is
>tailors were..the tailors corue so moni peces uor is robe ne ssolde pow3e.
>
>OED - Seamstress, Sempstress
>A woman who seams or sews; a needlewoman whose occupation is plain sewing as
>distinguished from dress or mantle-making, decorative embroidery, etc.  1644
>HOWELL Twelve Treat. (1661) 47 A great masse of money and plate was brought
>into the Guild-hall, the Semstresse brought in her silver Thimble,..the Cook
>his Spoons.
>
>However,
>
>OED Seamster, Sempster
>One who sews; one whose occupation is sewing, esp. the making and mending of
>garments; a tailor, seamstress.
>Originally a designation of a woman, but in OE. already applicable to a man.
>Now only applied to one of the male sex, seamstress being commonly used for
>a female sewer.
>c995 in Kemble Cod. Diplom. VI. 131 Ane crencestræn, and ane semestran.
>
>Marc
>
>_________________________________________________________________
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At 8:57 AM -0400 5/23/04, Tiffsewsstuff@aol.com wrote:
>In a message dated 5/23/04 1:05:02 AM Central Daylight Time,
>otsisto@socket.net writes:
>As for "details they will soon forget", people do remember. It may be
>shelved into the back of their memory for a while but something will come up
>and they may recite the little bit of misinformation that they heard from
>that docent.
>
>
>I totally agree.  I mean, where did the man's misinformation come from in the
>first place?  Probably from something that he heard or read, and decided to
>add into his tour.

Keep in mind that it _may_ have come from some helpful 
museum-attendee who told him historic "facts" with great confidence 
(or even possibly who berated him for the inaccuracy of his spiel and 
explained to him "how it really was").  In other words, when 
correcting a museum docent's information, one needs to keep in mind 
how easily the same "correction" process can be used to provide 
inaccurate (or simply debated) information.

Heather
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>
>
>You know, all this talk of deformities and Nomality misses one point,
>that some women didn't lace tightly, due to the same things we have
>today.  
>
I said at least once that there is a difference between corsetry and 
tight lacing.

>today some women will wear stilettos for every day of her adult life and
>some will wear earth shoes, and there's every other person in between. 
>  
>
I have read that most modern American women have feet that are deformed 
to some extent from what those feet would have looked like if the woman 
had gone barefoot or worn low sandals all her life.  Even if said women 
have avoided the extremes of fashion, such as high stiletto heels with 
super-pointed toes.  In modern books I've seen revolting (to me) photos 
of badly deformed and possibly dysfuctional modern feet, things like one 
toe pushed under another (from wearing overly narrow shoes).  While I've 
never seen a modern person barefoot (or in sandals) who looked this bad, 
most of the bare female feet I've seen did not look entirely 
"natural."   I'd include my own feet in this category, even though they 
are perfectly functional and no more deformed than what seems to be the 
modern average.  The Victorian ideal of small feet also led numerous 
women into wearing shoes that were too small and thereby deformed the foot.

>so I'm sure there WERE examples of Uncompressed bodies.   any person who
>corseted but didn't tightlace would have had a body which was
>uncompressed, undeformed.   It is inconcievable that a working woman for
>instance could wash clothes or floors with tight lacing.   
>  
>
I myself never said there were NO examples of umcompressed bodies.

>someone stated that just
>because the bones were deformed and the organs misplaced didn't mean
>that the person was in pain or unhealthy.   that is like saying that the
>chinese women whose feet were wrapped from babyhood to maintain the tiny
>foot were not unhealthy just because they couldn't walk, or just because
>they didn't suffer pain as long as they remained in one place.  
>
I know I've said that personal modern experience is not an entire 
guideline, but--for a couple years I had a job that required me to dress 
in relatively high fashion.  While I avoided the most extreme shoes I 
saw in stores, I did often wear pointy-toed shoes with 2 1/2 in. heels 
(which for me is high) and which were narrow, though not actual 
stilettoes.  I worked about 50 hours a week at this job (granted, it was 
a desk job, I was a senior editor for a book publisher, so I didn't 
stand all day).  But I commuted in my work shoes instead of taking the 
sensible course I saw many other women take--they used running shoes to 
run for the bus and only put on their fancy shoes at work.  I didn't 
feel like dealing with extra pairs of shoes and anyway, my work shoes 
didn't bug me.  I walked over a mile to the bus stop in them every 
day.   When I left the job for one that required more casual dress I 
quit wearing my high heels.  After a couple years, when I was clearing 
out my closet, I tried on all those shoes.  They were so uncomfortable I 
couldn't believe I'd worn them for 20 minutes let alone 50 hours a 
week.  I immediately tossed them all into the Goodwill bag.  My feet 
hadn't changed.  It's just that when I wore my fancy shoes I believed 
they were necessary and I was so used to the discomfort I didn't notice 
it.  It's probably just as well for my feet that I quit wearing them.

> organs
>which are missplaced can cause malfunctions, bones which are deformed
>fail in their function of protecting the organs, or fail in supporting
>the diaphram, fail in aiding proper breathing, and prevent that person
>from functioning fully.   this does not say that that person had an
>evident disease, it says that that person was almost certainly hampered
>in some ways.   
>
Hmm. . . I'm not a doctor by any means.  But I suspect malfunctioning 
bones and organs tend to be bad for the health, at least in the long run.

>
>just as there are fifty differing opinions on that point on this list,
>there were a thousand back then based on station in life, duties and
>obligations and degree of vanity and insecurity in the particular
>woman.   surely this is something you can acknowledge in women of other
>ages and eras just as it is something you can acknowledge in today's
>world, in this list, and viceversa.   
>	
>  
>

I don't think anyone on this list has insisted that all Victorian women 
either dressed in exactly the same way, or had exactly the same health 
problems or lack thereof.

Fran
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I tried going brasless (for some months, perhaps a year)  in the 1970s 
when I was in high school, in an urban but relatively conservative 
area.  It not infrequently led males in the street,  total strangers, to 
stare rudely and make lewd comments, even propositions; in short to 
treat me like an "easy woman."  It was like, if I stepped outside what 
they felt my role should be they were entitled to say anything they 
wanted, to me and to each other.  Note that I have never been 
large-busted or generally voluptuous, nor did I go in for plunging 
necklines or other revealing clothes.  Many women did not want to put up 
with such treatment regardless of how uncomfortable they may have found 
their bras, and even if they were not worried about drooping breasts. 

Fran

>Why do you think it was such a shocking thing in the 60s to "burn the 
>bra"? Cultures were changing and people were trying to break out of 
>those cultural norms. Many women found it "inconceivable" that anyone 
>could go without a bra. People at the time actually thought that it 
>was "unhealthy" to go without a bra. Cooper's droop was something 
>considered "unhealthy" and women without bras would "obviously" get 
>Cooper's droop. 
>  
>
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>-----------------------------
>
>Message: 8
>Date: Sat, 22 May 2004 10:35:55 -0700
>From: Lavolta Press <fran@lavoltapress.com>
>Subject: Re: [h-cost] Foaming at the mouth
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <40AF8F7B.5070506@lavoltapress.com>
>Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
>I'd suggest that you write an article or articles on these topics and
>have it/them published in a newsletter or magazine, and/or posted on a
>website.  And let everyone know the information there.  That way you can
>disseminate what you believe to be correct information without
>criticizing anyone.
>
>As for children, they're probably the ones least likely to retain
>factual information as opposed to a hazy impression.
>
>Fran

I would disagree, Fran. Children are precisely the one's most likely to 
remember any information (correct or incorrect) they are given. I remember 
what I was like as a child. And my nephews are the same. Years after they 
have been to a museum or similar venue, they can spout off, often verbatim, 
what they saw, heard, read and were told. If the subject interests them in 
the slightest, they'll remember it. And, unfortunately, if its the first 
bit of information they received on the subject, they'll resist any 
contrary opinions.

Pierre




"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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What's the difference between evidence presented by a doctor in good 
faith, to promote health, and propaganda? 

There is also another question to be asked.  Many people on this list do 
not _want_ to believe that corsets could have, in the past, ever have 
been bad for the health.  Wanting to believe something does not make it 
either true or untrue.  But if you want to believe something, it is 
important to ask _why_ you want to believe it, and consider how your 
desire may affect whatever evidence you find.

Fran

>Propaganda frequently is unreliable & I believe the
>original, as well as my ascii caricature, would
>qualify.
>
>Ann in CT 
>
>  
>
>  
>
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I have disagreed with your opinions no more often than you have 
disagreed with mine.  I'm sorry if you see any kind of debate as petty 
or personal.  I did not mean it that way.  I have nothing against you 
whatever.

Fran

>All I have done 
>here from the get-go is "chat," I have "corrected" no one.  I simply expressed 
>a different opinion from yours on the subject of the museum tour guide, and 
>due to that, you seem to have decided to respond to every post I make and 
>correct ME.  Personally, I see that as being guilty of the same thing that you are 
>trying to accuse me of, but ::shrug:: ... I'm sure you'll correct me again.
>
>In any case, I have absolutely no interest in this kind of pettiness, so I'll 
>be moving forward.
>
>  
>
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tailor's
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Susan Carroll-Clark <nicolaa@rogers.com> wrote
>Greetings--
>
>> Do you have any evidence of either term being used in the 12th century?
>> My dictionary lists "tailor" as "C13", but of course no detail as to
>> which end of the 13th century.
>
>Oh, forgot another reference.  I did a survey of personal names in Essex
>documents from 1189-1272 a few years ago, and also recorded some of the
>personal names.  While I don't have the actual source right at hand, the
>surname or occupational name "le Taillur/Tayllur/Taylor" does appear during
>this period. No clue as to male or female--but the term certainly exists at
>this point.  The fact that it's used with the masculine "le" may be a
>marker, although surnames are in flux at this point, moving from being
>occupational bynames to inherited ones.
>
>Susan
>
Susan,

Is this a source you could dig out?  Given that your survey was over 
nearly a century, and the other reference you had was near the end of 
that period, it would be interesting to know how early you found the 
name.  (my group only do up to 1215)

Jean
-- 
Jean Waddie
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A friend of mine made up one of these a few years ago, and yes she did have
to do some resizing.  I think because these patterns use modern sizing and a
for proper fit with a corset you don't want to match the measurements
exactly.

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


----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 21, 2004 11:11 PM
Subject: Re: [h-cost] Simplicity's corset patterns


> Hi,
> one more question (for now), for those that have used these patterns what
> did you use for boning? are the boning channels straight enough to use
flat
> steels? or will I need spiral steel? The general consensus seems to be
that
> they turn out too big, for those that did find them too big did you check
> your measurements against the pattern envelope, or did you just go with
your
> normal size? I just want to check if their printed measurements are off or
> whether they are a different size to normal patterns.
> Thanks
> Elizabeth
> --------------------------------------------------------------------------
--
> ----
> Elizabeth Beaumont              Elizabeth Walpole
> Politarchopolis, Lochac     Canberra Australia
>              ewalpole@austar.net.au
>
> People are like stained glass windows. They sparkle and shine when the sun
> is out, but when the darkness sets in ,their true beauty is revealed only
if
> there is light from within.
> Elizabeth Kubler-Ross
>
> The years that a woman subtracts from her age are not lost. They are added
> to the ages of other women.
> Diane de Poitiers (1499-1566) Attrib.
>
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Subject: [h-cost] RE: Tailor's
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>From: "otsisto" <otsisto@socket.net>
>So from what I can understand from this, someone refered to as a tailor in
>the 12th cent. could have been male or female and then gradually became a
>reference to a male sewer?

I think the quotes in question say nothing about the gender of a tailor.

The term "sempster" was originally a woman, which then came to refer to 
either gender, then only men, with the women taking up the term "semptress" 
by 1644.

Marc

> >Tailor = male sewer
> >Seamstress + female sewer
>
>OED  - Tailor
>1. a. ‘One whose business is to make clothes’ (J.); a maker of the outer
>garments of men, also sometimes those of women, esp. riding-habits, walking
>costumes, etc. See also MERCHANT-TAILOR.  (Although historically the tailor
>is the cutter, in the trade the ‘tailor’ is the man who sews or makes up
>what the ‘cutter’ has shaped.)  1297 R. GLOUC. (Rolls) 6391 A robe he let
>him ssape uerst of blod red scarlet there the ssarpe stones bi the stret is
>tailors were..the tailors corue so moni peces uor is robe ne ssolde pow3e.
>
>OED - Seamstress, Sempstress
>A woman who seams or sews; a needlewoman whose occupation is plain sewing 
>as
>distinguished from dress or mantle-making, decorative embroidery, etc.  
>1644
>HOWELL Twelve Treat. (1661) 47 A great masse of money and plate was brought
>into the Guild-hall, the Semstresse brought in her silver Thimble,..the 
>Cook
>his Spoons.
>
>However,
>
>OED Seamster, Sempster
>One who sews; one whose occupation is sewing, esp. the making and mending 
>of
>garments; a tailor, seamstress.
>Originally a designation of a woman, but in OE. already applicable to a 
>man.
>Now only applied to one of the male sex, seamstress being commonly used for
>a female sewer.
>c995 in Kemble Cod. Diplom. VI. 131 Ane crencestræn, and ane semestran.

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Subject: Re: [h-cost] The Victorian corset debate
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Yes a letter is going I just have to pull my thoughts together on the issue.
Although I don't feel that I'm really the one qualified for this I may be
the only one willing in the area. And yes in full outfit and on the doorstep
is a definite possibility. I was 12 when I got my first corset and it's only
been in the last two years that I stopped wearing one. (re:my email addy I
am also on Stalyace (LISA member too))

Laura was 14 at her first corset. I'm a huge Laura junkie and have done two
substantial papers on her including her possible dresses and the lack of
male children with her her mother and her daughter Rose and possible blood
typing complications for the involved boy babies that died early in life.
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
(Tangential: I remember reading in the Laura Ingalls "Little House"
> > series that Laura didn't start wearing a corset until 16, and her Ma
made
> > her wear it at night to make up time. She hated it and always took it
off.
> > Does anyone else remember this? I don't have the book in front of me at
> the
> > moment).
> > 3) Definitely send a letter, but a gentle one, not a nasty one. It also
> irks
> > me that inaccurate information is being distributed under the guise of
> > historical information, but yelling and screaming never converted
anyone!
> > Recommend some of the latest research and go back in a couple of years
and
> > see what (if anything) happened.
> >
> > 4) The confrontational part of me says - yes, dress up in full Victorian
> > gear and tour the museum, showing your full balance and lack of crushed
> > ribcages ;)
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Subject: [h-cost] Re: Corsetry and changes to the body
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There is an interesting site concerning a modern woman's use of 
everyday tight laced corsets at the following link
http://www.sylphide.de/estart.htm

I wonder what effect this is having on her internal organs, as she even 
sleeps with a 19" waist. It does show the process of a body becoming 
accustomed to the lacing, consciously looking at the process in a way 
that perhaps the Victorians wouldn't have done so explicitly.

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Foaming at the mouth
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-----Original Message-----
Keep in mind that it _may_ have come from some helpful
museum-attendee who told him historic "facts" with great confidence
(or even possibly who berated him for the inaccuracy of his spiel and
explained to him "how it really was").  In other words, when
correcting a museum docent's information, one needs to keep in mind
how easily the same "correction" process can be used to provide
inaccurate (or simply debated) information.

Heather
--
This is good possibility which is why a person presents their case to the
ones in charge not the docent.
A letter w/"this is what so and such docent said and here is my
documentation to the contrary. The people in charge, they should go over
youy docs and choose whether they will integrate the new info or keep as is
(their prerogative). Giving the name of the docent will help, in case the
docent is ad-libbing or deviating from the script (it may be that only one
docent is passing on "possible" misinformation) and the museum heads can
correct this if they know the source.


De

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Subject: Re: [h-cost] Tailor's
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Greetings--

> Is this a source you could dig out?  Given that your survey was over
> nearly a century, and the other reference you had was near the end of
> that period, it would be interesting to know how early you found the
> name.  (my group only do up to 1215)

R.E.G. Kirk, (ed.) _Feet of Fines for Essex_. (Vol. 1) Colchester: Essex
Archaeological Society, 1899-/

What the Feet of Fines is is a collection of legal documents regarding land
transfers.  A "fine" is the record of a land transaction, and they are
called "feet" because there were three records made:  One on the left-hand
side of the document, one on the right, and one at the bottom (the "foot")
The bottom one was the one that was kept by the archive; with the other two
copies going to the two parties.   There are literally hundreds of
transactions in the book.  The good thing is, if you can get hold of a copy,
there is an index by surname in the back, so you should be able to look up
the (le) Taillur - type entries for date.  As I said, my concern was doing a
statistical survey of given names; I only noted the surnames in passing, so
I couldn't tell you right off whether a particular name occurred before a
particular date.

Susan

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To: "Historical Costume" <h-costume@indra.com>
References: <Pine.GSO.4.44.0405231022430.1594-100000@shell3.shore.net>
Subject: Re: [h-cost] Foaming at the mouth
Date: Sun, 23 May 2004 18:39:00 -0400
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Well yeah I know of at least 4 others besides myself who live in the area
who could more than handle it. The problem is getting them to take the
offer.
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Katy Bishop" <vintage@shore.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 23, 2004 10:24 AM
Subject: Re: [h-cost] Foaming at the mouth


>
> Do you know anyone that can show up and take a tour in correct
> late 19th century period dress?
>
> Katy
>
> On Sat, 22 May 2004, Bice wrote:
>
> >I tried that. I really did. I kept saying he's old he doesn't know any
> >better he's doing the best he can. Then he made a remark about corsets
and
> >reproduction organs and I simply walked out of the room to catch my
breath
> >and temper. There were other appalling faux pas that I'm just disturbed
> >over. They take classes through this place!! And this area is a very
> >cliquish sort of place so I doubt I can even get an "in" to even teach a
> >class. As I said before I'm not in the realm of knowledge of some of
ladies
> >here but at least I know that compared to this guy I'm a freaking genius.
> >=============================
> >http://kristalori.com or http://swapking.com/hats/
> >http://www.livejournal.com/users/jaie
> >=============================
> >----- Original Message -----
> >From: "Lauren Walker" <lauren.walker@comcast.net>
> >To: "Historical Costume" <h-costume@indra.com>
> >Sent: Saturday, May 22, 2004 11:00 AM
> >Subject: Re: [h-cost] Foaming at the mouth
> >
> >
> >> When I was working on a degree in Popular Culture Studies, one of our
> >> professors (I think the one who was on the board at Williamsburg) just
> >> repeated over and over again, "Don't listen to docents. They're very
nice,
> >> but they are almost always volunteers with no training, and nothing
they
> >say
> >> can be counted upon." His favorite example was being told that a
> >> Federal-period house was built with wide interior doorways to
accommodate
> >> crinolines, which, of course, were not in style for another 30 years.
> >>
> >> While I sympathize utterly with your froth, I do find this mantra has
> >> allowed me to visit more historic houses without committing assault or
> >> having a heart attack. "They're nice, they mean well, they don't know
> >> anything. They're nice, they mean well, they don't know anything.
They're
> >> nice, they mean well..."
> >>
> >> Lauren
> >>
> >>
> >> > From: "Bice" <wantstobecorsetted1@hotmail.com>
> >>
> >> > I live in Oswego NY. We have this really great Victorian are home
that
> >is now
> >> > a museum. I with a friend took the tour. Why am I foaming at the
mouth?
> >> >
> >> > Well did you know Victorian women wore 11 pounds of underwear? Did
you
> >know
> >> > they were so off balanced they kept their elbows on the table? Did
you
> >know
> >> > that they had deformed bodies thanks to corsets?
> >> >
> >> > I'm so livid I'm shaking.
> >>
> >> _______________________________________________
> >> 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
> >
>
> 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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> h-costume@mail.indra.com
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>
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Subject: Re: [h-cost] questions grow the more I read
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>From lower middle to upper middle (the house I had originally posted about
was upper middle) Now if by late you mean 1880's on then it depends. Linen
dresses were popular. Calicos for wrappers and house dresses. Or for casual
wear. Cottons were worn. Both linen and cottons for underthings. Also silks
for the trousseau outfit possibly or even special occasion clothing. Linen
wool dresses for Sunday wear. Wools and heavy velvets and bombazine for good
dresses also. A few good wool dresses for winter wear. Crinolines tended to
be earlier and could be made of horsehair. Hoops could be steel and were
less weight then 6 or 7 crinolines. But for the later era esp. the 1880's
bustles in the forms of what I fondly refer to as "steel ass traps" the
collapsed for sitting. Or a pad stuffed with horsehair or other filling
depending on taste. For the dresses of the aesthetic movement (my fav era
for dresses even means more to me than SCA timeline clothing) I send you to
this page:
http://www.fashion-era.com/aesthetics.htm

B~
=============================
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http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
> To which I ask....
>
> so what would be appropriate for an middle/late 19th century  costume?
> Did the middle class still wear linen, or was it cotton?   where did
> linsey/woolsy come in, was it over and done with by then?   did women
> wear it or did only men?
>
>  Would she wear cotton dresses or wool, Linen or silk?
>
>
> and from there I go on to inquire... do I understand your terminology
> right?  is a crinoline a peticoat with netting  attached to it to give
> the skirt over it poof?   and what era was this crinoline worn?   I know
> at some point that lots of petticoats gave the shape to the skirts, when
> were hoops introduced and where did the crinoline fit in?
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Subject: Re: [h-cost] The Victorian corset debate
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Hi, All. I don't know if this has any bearing on this conversation, but 
I have permanent (I assume, since they are in bone) dents from my 
temples back to my ears from wearing glasses since I was 6. I wore them 
all day, and took them off at night, but I still have the dents. I 
assume that what can happen to my skull can happen to other bones. Of 
course, this is just conjecture, but I can assure you, the dents in my 
skull aren't. Cheers, Mike T.


> I do think Fran has a point that
>corsets worn from childhood onwards are going to have some kind of permanent
>(even if not extreme) effect on the shape of the body. In adulthood - who
>knows? 
>  
>


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To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] Re: Colonial House series
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Hi, All. Bridgette, I would fear that the "Simon Factor" would come into 
play here (the need for the talentless public to see people belittled), 
and the need to abuse the more well-informed for the amusement of the 
audience would leave those of us that do it regularly looking the fools. 
If done fairly and without malice, it would more or less resemble what I 
do on weekends which, although it reaches a smaller audience, has some 
controls in place. We have our own competitions amongst our own, no 
sense getting the TV folks involved (coming off a day of trying to 
"inform" a film crew about what we would or wouldn't have done while 
still trying to keep it interesting for 4th Graders for a museum video). 
Cheers, Mike T.


> I still want to see a series like this with two teams.  One comprised 
> of the average Joe's and the other team all "avid recreational 
> historians"  aka ringers.  It would be interesting to see how the two 
> groups approached problems.
> Bridgette
>
>
>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] help with hat documentation
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Hi, Julie, since you haven't told us what the hat is, we have a hard 
time with it, but since you seem to be referring to knitting, I can tell 
you that none of the extant hats that I know of from the period before 
1700 AD show any evidence of wire stiffening , IIRC. You might want to 
try the historic knit list. From my experience, stiffening in a felted 
hat comes from the denseness of the felting rather than any internal 
support, and, indeed, it would be difficult to put in the wires, if any 
existed, either before or after felting had been done. One of the major 
problems that I have seen in documentation is the process of choosing an 
idea, then trying to document it. It is far better to look at the 
evidence, locate the frequency or absence thereof, and begin to create 
an idea from there. This list is full of lovely examples of the same 
(look at the most recent posting of chemise drawstrings, for example). 
Please refrain from doing anything that might jeopardise your hat from 
getting the credit it deserves. Cheers, Mike T.

Julie wrote:

>Help
>
>
>  
>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Colonial House series
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Hi, All. Hi, Ron. The only thing I can say to agree with you is to 
remind everyone that the title to the first "Harry Potter" movie had to 
be changed from Philosopher's Stone to Sorcerer's Stone in the US 
because the folks in the know thought us to be such boobs that the word 
"Philosopher" might turn us off from reading the book/going to the 
movie. Now you can see why Europe is disgusted with us on so many 
levels....Sadly, Mike T.

Ron Carnegie wrote:

>   Actually the Canadian "quest" series does use a knowledgeable cast I
>believe are by far the more interesting shows.  Would the rest of America
>agree I don't know.  I know the makers of the American ones would not agree.
>  
>
>


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Colonial House series
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  The title of the Movie "The Madness of King George" is a similar story.
The play was entitled "The Madness of King George III" but when the movie
was being released they were afraid that Americans would think the missed
the first two parts!

Cheers,
Ron

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of michael tartaglio
> Sent: Sunday, May 23, 2004 8:23 PM
> To: Historical Costume
> Subject: Re: [h-cost] Re: Colonial House series
>
>
> Hi, All. Hi, Ron. The only thing I can say to agree with you is to
> remind everyone that the title to the first "Harry Potter" movie had to
> be changed from Philosopher's Stone to Sorcerer's Stone in the US
> because the folks in the know thought us to be such boobs that the word
> "Philosopher" might turn us off from reading the book/going to the
> movie. Now you can see why Europe is disgusted with us on so many
> levels....Sadly, Mike T.
>
> Ron Carnegie wrote:
>
> >   Actually the Canadian "quest" series does use a knowledgeable cast I
> >believe are by far the more interesting shows.  Would the rest of America
> >agree I don't know.  I know the makers of the American ones
> would not agree.
> >
> >
> >
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: colonial house
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Hi, All. It is a shame though that no good came of all of the "prime 
time" stuff. They could have mentioned that there was a sect of people 
in the 17th Cent. that were avowed nudists, the "Adamites" and that 
although homosexuality was the case in one episode, there was a young 
man at the Jamestown colony that passed as a woman and back again, in 
this case it is believed that he/she was a hermaphrodite, and the 
punishments and requirements that were placed on that person gave an 
idea of how such things might have been handled in the early colonies (I 
believe that the Anglican Church and the Brownists were of one accord in 
this area). It is true that this is a case of tittilation and not 
education, sad to say... Cheers, Mike T.  PS, please don't misunderstand 
me, I don't equate transvestitism and homosexuality, nor do I think of 
hermaphrodites in the same way. Thanks, MJT


>In the few minutes of the show I watched, I saw people skinnydipping,
>talking about how they couldn't have "great sex" in colonial days, confiding
>their homosexuality, and refusing to wear caps because of "feminism." This
>may be typical prime time television fare -- but hey, I watch public
>television to get away from typical prime time television fare.
>
>  
>


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"Dangerous Liaisons" is a great movie, with fabulous costumes and makeup.
 Other of my favorites to sit and dew to are:  the A & E version of
"Pride and Prejudice", "Shakespeare in Love", and "Dangerous
Beauty"--they are all REALLY romantic.  Anything from the Bronte books
are great too.  Has anyone seen the relatively recent version of "Triumph
of Love" with Ben Kingsley?  Fantastic, esp. the costumes.

Yours in costuming, Lisa A.

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Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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Try Antonia Fraser's book "The Wives of Henry VIII".  There are all the
famous portraits (in color), plus other less-famous portraits of them,
plus it is about the best book I"ve read on the subject.  Fraser is
amazing.  The recent History channel mini-series about Henry VIII and his
wives by that British so-called historian was crap, I don't think they
even got the costumes right.  They certainly didn't get the hair color
right!

This is one of my favorite time periods, having just completed a
historical reproduction of the dress that Mary Tudor is wearing in her
famous wedding portrait with Charles Brandon.  I believe that there will
at some point be photos up on the Costume-Connections website for CC22 in
Atlanta this past April, the Historical MAsquerade.

Yours in costuming, Lisa A.

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Hi, All. I began perusing a book the other day, can't remember the 
author's name, but the title was "American Jezibel" and the book was a 
biography of Anne Hutchinson, originally of Mass Bay and later of Roger 
William's Rhode Island Colony. If Mrs. Vorhees wants to be a rebel, she 
should try walking a mile in that woman's latchet shoes. She'd never 
last a minute! She wants good sex? If conception was considered in the 
17th Cent. to indicate that a woman was enjoying her nuptual duties, 
then Anne had that in spades...she bore over 14 children! All of that, 
plus losing a lot of her kids as well as her first husband to disease, 
then travelling to the Colony and putting up with their nonsense there. 
Jeez, what a bunch of crybabies... Cheers, Mike T.

> In the part I saw, the Voorhees woman mused about whether or not
>she would have stood up for her convictions back in 1628. The obvious answer
>is yes -- and her convictions would have been Puritan, or she wouldn't have
>been there. 
>
>
>  
>


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Children's bones are soft. Children in Tae Kwon-Do classes are not allowed
to break boards with their hands due to developing bones.
I have indentations in my skull from leaning on the door frames when I had
to stand in the corner for punishment.
So yes, there may be an effect on children's bone structure. But most young
women, to my knowledge of the period was not introduced to a corset until
maybe after their first period which would identify them as becoming a woman
or boob development.

De



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

Hi, All. I don't know if this has any bearing on this conversation, but
I have permanent (I assume, since they are in bone) dents from my
temples back to my ears from wearing glasses since I was 6. I wore them
all day, and took them off at night, but I still have the dents. I
assume that what can happen to my skull can happen to other bones. Of
course, this is just conjecture, but I can assure you, the dents in my
skull aren't. Cheers, Mike T.


> I do think Fran has a point that
>corsets worn from childhood onwards are going to have some kind of
permanent
>(even if not extreme) effect on the shape of the body. In adulthood - who
>knows?
>
>


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>Has anyone seen the relatively recent version of "Triumph
>of Love" with Ben Kingsley?  Fantastic, esp. the costumes.
>  
>

Yes, it's great--except for the two scenes where the filmmakers could 
not resist getting coy and showing modern spectators in metal folding 
chairs.  But there's not enough of that to spoil the film.

An even better film set in the 18th century is "The Clandestine 
Marriage."  It's hilarious.

Fran

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Subject: [h-cost] the red dress in 'Van Helsing'
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Speaking of costume flicks, has anyone seen this movie, and what do you 
think of the red dress from the masque sequence?

http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/29.jpg

http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/07.jpg

http://www.imdb.com/gallery/ss/0338526/Ss/0338526/2299-K924-20A.jpg?path=gallery&path_key=0338526


I'm wondering if it was based on something real, or if it is fantasy.



Dawn



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From: "Genie" <kerowyn@mindspring.com>
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Showtime just aired the new production, (Patrick Stewart, Glenn Close) tonight.  Has anyone else watched it?  What's the opinion of the clothing, too hollywood?  Or, somewhere in between.

Genie

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

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Subject: RE: [h-cost] The Victorian corset debate
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> Children's bones are soft. Children in Tae Kwon-Do classes are not
> allowed to break boards with their hands due to developing bones. I
> have indentations in my skull from leaning on the door frames when I
> had to stand in the corner for punishment. So yes, there may be an
> effect on children's bone structure. But most young women, to my
> knowledge of the period was not introduced to a corset until maybe
> after their first period which would identify them as becoming a woman
> or boob development.

It really depends on the bone being discussed. Even adults will 
remodel their bones based on pressure. For example, I broke my nose 
when I was in the 4th grade and it left a definite bump there. 
However, after I started wearing glasses (at 18 years of age), the 
way that the glasses rested on my nose remodeled that area where the 
bones were broken so that the bump completely remodeled. 

It has to do several factors. Some has to do with cells called 
osteoclasts and osteoblasts which we all have. They are just faster 
working in children, which is why a child's broken bone will knit in 
3 weeks to the point where a similar break in an adult will take 6 
weeks or longer. (And in the very young, it has to do with whether 
the cartilage has been replaced by bone yet.)

And a child's bone is over all a bit softer than an adult. That's why 
they tend to get what's called "greenstick" breaks (where it bends 
but doesn't break completely) where an adult will have the relatively 
more brittle bone shatter instead.

Teenagers are still developing their bone structure too. That's why 
scoliosis braces will work. They help straighten the bones in the 
spine.

And the bodies will change and remodel a lot more than was thought in 
the past. They used to tell us pediatricians that we didn't need to 
measure heads past 1 year of age because the head didn't change 
significantly after that age. Now they are telling us to continue to 
measure till at least 2 years of age, because the heads will continue 
to grow more than they used to think they did.

Human bodies are very interesting in the way they work.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Laura Ingalls (was Victorian Corset Debate)
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Bice wrote:

Laura was 14 at her first corset. I'm a huge Laura junkie and have done two
substantial papers on her including her possible dresses and the lack of
male children with her her mother and her daughter Rose and possible blood
typing complications for the involved boy babies that died early in life.

Do you happen to have a copy of the paper you did on her dresses? Even at an
early age I was kind of intrigued by her descriptions - like when she and
her sister got each other's hair ribbons one Sunday, or her brown poplin
dress that she was so proud of when Almanzo first saw it :)

Also, I did always wonder about the lack of male children in the family -
what do you think the illness was?

Allison T.

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Subject: Re: [h-cost] the red dress in 'Van Helsing'
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I think it's gorgeous, wonder if its based on a real dress.


b

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 23, 2004 7:24 PM
Subject: [h-cost] the red dress in 'Van Helsing'


> Speaking of costume flicks, has anyone seen this movie, and what do you
> think of the red dress from the masque sequence?
>
> http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/29.jpg
>
> http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/07.jpg
>
>
http://www.imdb.com/gallery/ss/0338526/Ss/0338526/2299-K924-20A.jpg?path=gallery&path_key=0338526
>
>
> I'm wondering if it was based on something real, or if it is fantasy.
>
>
>
> Dawn
>
>
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] the red dress in 'Van Helsing'
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At 09:24 PM 5/23/2004 -0500, you wrote:
>Speaking of costume flicks, has anyone seen this movie, and what do you 
>think of the red dress from the masque sequence?
>
>http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/29.jpg
>
>http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/07.jpg
>
>http://www.imdb.com/gallery/ss/0338526/Ss/0338526/2299-K924-20A.jpg?path=ga 
>llery&path_key=0338526
>
>I'm wondering if it was based on something real, or if it is fantasy.
>
>Dawn



What time period is this supposed to be?

Joan

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Date: Sun, 23 May 2004 21:02:28 -0600 (MDT)
Subject: Re: [h-cost] the red dress in 'Van Helsing'
From: sylvia@ntw.net
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Havent seen the movie but the dress looks 1870s or 1880s, doesnt it?

Sylrog

At 09:24 PM 5/23/2004 -0500, you wrote:
>>Speaking of costume flicks, has anyone seen this movie, and what do you
>>think of the red dress from the masque sequence?
>>
>>http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/29.jpg
>>
>>http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/07.jpg
>>
>>http://www.imdb.com/gallery/ss/0338526/Ss/0338526/2299-K924-20A.jpg?path=ga
>>llery&path_key=0338526
>>
>>I'm wondering if it was based on something real, or if it is fantasy.
>>
>>Dawn
>
>
>
> What time period is this supposed to be?
>
> Joan
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] the red dress in 'Van Helsing'
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> >
> >I'm wondering if it was based on something real, or if it is fantasy.
> >
> >Dawn
>
>
>
> What time period is this supposed to be?
>
> Joan
>

In theory it's the same time period as set in Stokers book Dracula, but this
particular movie is based on a Japanese Manga/Anime cartoon.

Sheridan

(still amused by the gas powered repeating crossbow; my husbands comment
upon seeing it was, "but if it's gas powered, why does it still have a
bowstring?")   :-)


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] The Victorian corset debate
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>4) The confrontational part of me says - yes, dress up in full Victorian
>gear and tour the museum, showing your full balance and lack of crushed
>ribcages ;)

My corseted waist these days is near 40".  And I amazed the folks at the
Hyde Street Pier living history day by reaching over and touching my toes
while wearing mine - a c1901 straight-front.

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

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Subject: Re: [h-cost] the red dress in 'Van Helsing'
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>Speaking of costume flicks, has anyone seen this movie, and what do you 
>think of the red dress from the masque sequence?
>
>http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/29.jpg
>
>http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/07.jpg
>
>http://www.imdb.com/gallery/ss/0338526/Ss/0338526/2299-K924-20A.jpg?path=gal
>lery&path_key=0338526
>
>
>I'm wondering if it was based on something real, or if it is fantasy.

Dopubtless it's designed to look "old timey", but it looks a lot more like
modern corset-bodice dresses than it does like anything historical.  My
best guess is Steam-Punk 1880s-ish.

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

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At the Mütter Museum in Philadelphia (a medical museum attached to the 
College of Physicians of Philadelphia), there is a skeleton of a Victorian-era 
female. The ribs are indeed deformed. While this may be an aberration, nonetheless, 
it does give some credence to the story of corsets deforming the body. I used 
the work at the College and have seen the skeleton.

Kathleen Norvell
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--------- Original Message ---------

DATE: Sat, 15 May 2004 12:05:11
From: "Wendy" <emmajean@myway.com>
To: h-costume@indra.com
Cc: 

>Hope this rings some bells. Any other suggestions >would also be welcome. I tend to focus on late 14th->early 15thC French and late 16th-early17thC Dutch, >but I'm flexible.

Actually, your regular garb may work just fine.  My son is a year old and is now is the process of weaning, so I've been experimenting with nursing garb.  I don't know if I have the *right* answers, but this is what I figured out.  I should also say that I'm normally a B cup, when nursing I got up to a D and am now a C, what I have to say may not work for larger busted women.

I had assumed that I would need something that laced up the front and a chemise with nursing slits. So I made a kirtle based on the gathered kirtle in _The Well Dressed Peasant_ modified to lace up the front, which I wore with a loose gown because my persona is English.  This actually worked pretty well, although Thomas was not always happy with the time it took me to unlace the front of my kirtle.

Then I made my third kirtle and decided to have the top end *at* the top of my bustline rather than a couple of inches above it, which is what one sees in portraits.  I discovered that when wearing this with a high necked chemise with a slit down the front it was actually easier to lift my breast out over the top of the neckline and nurse instead of unlacing the front.  A week after I discovered this I stumbled upon a painting by Brueghal titled "The Visit to the Wetnurse" where the wetnurse was doing the same thing.  This, I belive is why kirtles of the 15th century do not seem to have visible front lacing, since the relatively low neckline makes it possible to nurse without unlacing the front of the gown.  

As a total side note, does anyone else think that the servant making the pancakes in Artensen's "The Pancake bakery" looks pregnant?

-Katie


---
It's horrible! That's me as a vampire? 
I'm so evil and... skanky. And I think I'm kinda gay.





>
>Years ago I came across a couple portaits, Western Europe 15thC-ish, that showed the woman wearing a gown that had laced slits over the breasts to allow for nursing. 
>
>Now that I'm going to be needing a gown that allows for nursing in the near future, I can't find them.
>
>
>
>Thanks, Wendy
>Happy Spring
>(Manitoba just got hit with 40cm of snow, yeah us)
>
>
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] The Victorian corset debate
Date: Sun, 23 May 2004 21:42:03 -0700
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I've been watching this debate with an certain interest.  I intend to make
myself both a Victorian corset and a new Elizabethan to wear to work as well
as for events.  I managed to really wrench my back during my last business
trip (Next time I'll look smilingly at the man in the next seat and ask if
he wouldn't feel safer if he put my computer bag into the overhead for me
since I nearly dropped it on my last seat mate!).  I have found that a Tudor
corset with tabs acts beautifully as a back brace!

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Carolyn Kayta Barrows
> Sent: Sunday, May 23, 2004 8:44 PM
> To: Historical Costume
> Subject: Re: [h-cost] The Victorian corset debate
>
>
> >4) The confrontational part of me says - yes, dress up in full Victorian
> >gear and tour the museum, showing your full balance and lack of crushed
> >ribcages ;)


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I finally got a chance to watch the first four episodes straight through. 
Here are a  few thoughts.

It was interesting to see that the woman who decided that she wouldn't wear a 
coif was the lay minister's wife! It was also interesting to see that later, 
when the "governor's" family came back, she had her head covered.

And did anyone notice that (as far as the series showed), only Mistress 
Voohrees was punished for missing Sunday service, while her son and husband (who 
also was a Council member) were not?

As a 17th century reenactor,  I had to laugh at the fact that the"governor's" 
collar kept slipping around and that nobody had the sense to pin it to his 
shirt collar band. Also, we really don't know whether the lower class women wore 
stays all the time, if at all. I asked Janet Arnold about that when she gave 
a presentation on 17th century undergarments, and she said that we just don't 
know; that there isn't enough evidence or extant examples. Stays were 
expensive (the only extant 17th century stays are obviously from nobility or upper 
class women), and since that was the case, would they be worn all the time? If 
stays were considered "underwear," as they were in the 18th century, shouldn't 
they be covered? I would consider a woman who went outside without something on 
over her stays a woman of loose morals in a 17th century context. Didn't the 
costumers or the people at Plimouth Plantation tell them that when they went 
for training?

I suspect that the reason the straps kept falling off the shoulders was that 
the stays weren't custom made for the participants, but were gotten "off the 
rack." Since one set of stays didn't even close in the back, I'd bet that's the 
case.

As far as I know, the women should have pinned their hair up inside the 
coifs, to keep it clean and out of the food. 

Since members of the costuming staff referred to the women's main garment as 
either a "blouse" or "shirt," I'd take anything else they had to say with a 
sack of salt. They apparently don't know the proper terminology, and they 
apparently didn't tell the women why they should cover their heads (and pin up their 
hair).

Didn't those guys know how to fish? If they weren't given muskets and taught 
to hunt game, at least they could have supplemented the diet with fresh fish. 
I also think someone needed to find out what plants in the forest were edible 
too. Maybe I've been watching too much Survivor, but what I saw mainly was a 
lack of common sense and initiative on the part of the "settlers."

Off the soapbox now.

Kathleen Norvell
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Subject: Re: [h-cost] the red dress in 'Van Helsing'
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Since the movie shows the EIffel Tower as being half built, and the dates of 
construction were between January 26, 1887 to March 31, 1889, presumably the 
story takes place around 1888. 

Since none of the other costumes in the film had anything to do with 
historical accuracy, and were pretty cringe-inducing, I'd bet the farm that the red 
dress didn't either. It looks like a Vera Wang interpretation.

Kathleen Norvell



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Subject: Re: [h-cost] Laura Ingalls (was Victorian Corset Debate)
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Status: RO

I'll see if I can find the paper. It was written for school (college) about 12 (when I was about 19) years back and I know I saved my more important papers someplace. I chalked up to a possible blood typing problem in the case of Laura and Rose and in the case of Freddy simply "failure to thrive" because of "Ma's" illness at the same time. Also Almanzo had diphtheria and then a stroke which in those days could have shut off any future relations he and Laura might have had in efforts to produce more offspring. You can find some images of Laura and her family at: http://www.liwms.com/ this is the site of Laura Ingalls Wilder memorial society and imho the best site out there for images.) Also although I find his theories slightly off center the book Ghost in the Little House by William Holtz has some interesting theories and stories.
As for clothing because Laura married in 1885 in the west I had to make some theories of my own when coming up with clothing. Believe it or not DeSmet at this time was fairly fashionable and while fashion was slow to reach the area I don't feel there were too many delays. Godey's Lady's book was in circulation and the town had a tailor a dressmaker and a milliner.I did hunt the web to find some examples that would be acceptable to my thoughts on her clothing. The black dress she married in could have looked very close to the one seen here:
http://www.truenorth.net.au/userdir/adira/1885photob.JPG
With no insets and a plainer collar.

Laura also wore a bustle. She didn't care for a large one and in the book she tapes the straps in the front which would have given the gown only a slight bustle in the back. The dress shown here has the smaller bustle but a very unfashionable skirt. 

http://www.truenorth.net.au/userdir/adira/1883photoa.jpg
Laura in fact had a polonaise dress which I feel could have been similar to the pattern by past patterns. Seen here: 

http://www.longago.com/P904.jpg 
she was very proud of the polonaise and was pleased she looked so pretty in it. (remember that sensation as a teen yourself?) I have an inkling that the brown poplin was along these lines. The pink sprigged dress was most likely a plain skirt and bodice as she called it her "work dress"

B~
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "A.Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Sent: Sunday, May 23, 2004 9:50 PM
Subject: [h-cost] Laura Ingalls (was Victorian Corset Debate)


> Bice wrote:
> 
> Laura was 14 at her first corset. I'm a huge Laura junkie and have done two
> substantial papers on her including her possible dresses and the lack of
> male children with her her mother and her daughter Rose and possible blood
> typing complications for the involved boy babies that died early in life.
> 
> Do you happen to have a copy of the paper you did on her dresses? Even at an
> early age I was kind of intrigued by her descriptions - like when she and
> her sister got each other's hair ribbons one Sunday, or her brown poplin
> dress that she was so proud of when Almanzo first saw it :)
> 
> Also, I did always wonder about the lack of male children in the family -
> what do you think the illness was?
> 
> Allison T.
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Subject: Re: [h-cost] The Victorian corset debate
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*G* I'm with you. My corsetted (not tight-laced that's different
measurements) is 40" as well. I can bend jump up and down etc. Also see a
book called The Happy Valley The Elegant Eighties in Upstate NY by Pauline
Dakin Taft by Syracuse University Press for women in bustles playing tennis
and jumping over the net!!
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 23, 2004 11:43 PM
Subject: Re: [h-cost] The Victorian corset debate


> >4) The confrontational part of me says - yes, dress up in full Victorian
> >gear and tour the museum, showing your full balance and lack of crushed
> >ribcages ;)
>
> My corseted waist these days is near 40".  And I amazed the folks at the
> Hyde Street Pier living history day by reaching over and touching my toes
> while wearing mine - a c1901 straight-front.
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
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From h-costume-bounces@indra.com  Mon May 24 01:41:39 2004
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] The Victorian corset debate
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>At the Mütter Museum in Philadelphia (a medical museum attached to the 
>College of Physicians of Philadelphia), there is a skeleton of a
Victorian-era 
>female. The ribs are indeed deformed. While this may be an aberration, 
>nonetheless, 
>it does give some credence to the story of corsets deforming the body. I used 
>the work at the College and have seen the skeleton.

And shoes from the 1950s deformed the feet.

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

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From h-costume-bounces@indra.com  Mon May 24 03:05:11 2004
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From: "Molly Boone" <Rampant_Peacock@comcast.net>
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Subject: RE: [h-cost] The Victorian corset debate
Date: Mon, 24 May 2004 00:04:08 -0700
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I'm with both of you I love a well fitted Elizabethan corset.  Being a
larger than DD bust, a corset or a good bodice are the only things that give
my shoulders a break from bra straps and my lower back a break from the
counterbalance stress.  Corseted my waist is somewhere between  30 and 35
inches depending on my current weight.  I try not to take my waist down more
than about 4 inches simply for comfort.  At 4 inches I can still sing,
dance, breathe deeply, bend and move comfortably. In fact a lot of things
are easier for me to do because my chest isn't getting in the way.  I've
made 1 civil war era corset that well I had problems with but will be redone
(made it to big) and had similar happiness with it.

Now I will admit I don't wear one as often as I use to and I'm always
careful about lacing.  The only time I've ever had a problem was when I was
rushed into it.  Typical knee in the back and yank on the strings tightening
that  compressed the waist but nothing else and I about passed out.  I give
private classes to clients who order them from me anyone who wants to know
how now because I never want that done to me or to anyone else again.

Molly

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Bice
Sent: Sunday, May 23, 2004 10:27 PM
To: Historical Costume
Subject: Re: [h-cost] The Victorian corset debate


*G* I'm with you. My corsetted (not tight-laced that's different
measurements) is 40" as well. I can bend jump up and down etc. Also see a
book called The Happy Valley The Elegant Eighties in Upstate NY by Pauline
Dakin Taft by Syracuse University Press for women in bustles playing tennis
and jumping over the net!!
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 23, 2004 11:43 PM
Subject: Re: [h-cost] The Victorian corset debate


> >4) The confrontational part of me says - yes, dress up in full Victorian
> >gear and tour the museum, showing your full balance and lack of crushed
> >ribcages ;)
>
> My corseted waist these days is near 40".  And I amazed the folks at the
> Hyde Street Pier living history day by reaching over and touching my toes
> while wearing mine - a c1901 straight-front.
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
>           /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
_______________________________________________
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Simplicity's corset patterns
Date: Mon, 24 May 2004 17:47:22 +1000
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>>>>>store has a 3 for the price of 1 deal on Simplicity
patterns so I
thought I'd buy the civil war underwear patterns but I'm not sure which
corset pattern to take as one of my free patterns, there's 2 different
styles,


Niether. Both are rubbish. Spend your money on ice cream (Aldi's Havana Lane
creamy chocolate),

-C.

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From h-costume-bounces@indra.com  Mon May 24 06:49:44 2004
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Date: Mon, 24 May 2004 11:46:01 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Crinoline, was Questions grow the more I read
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I'm no Victorian expert, but since no-one seems to have answered this...
A crinoline was a stiffened petticoat worn in the mid-19th century to
give the skirts a dome shape without the need for multiple layers. I
believe they were originally stiffened with horsehair ("crin" in French)
but later used hoops.

Kate Bunting
Library, University of Derby

>>> basyefelton@floodcity.net 23/05/2004 01:09:30 >>>
 wrote:
and from there I go on to inquire... do I understand your terminology
right?  is a crinoline a peticoat with netting  attached to it to give
the skirt over it poof?   and what era was this crinoline worn?   I
know
at some point that lots of petticoats gave the shape to the skirts,
when
were hoops introduced and where did the crinoline fit in?


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Subject: [h-cost] Van Helsing red dress
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I know that the original Dracula novel was first published around 1888, but
I think it's safe to say that all of the costumes in this film give only a
passing nod to historical accuracy! Having said this, they look GREAT, and
I'm of half a mind to make some of Kate Beckinsale's costumes one of these
days!

I didn't know the movie was based on manga - what's the name of the original
series?

Allison T.

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Subject: Re: [h-cost] Crinoline, was Questions grow the more I read
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Ok, thanks, that helps a bit.  it wasn't just starched then, it had
something sewn in.  was it ALL horsehair or did it have bands like the
hoops?   or was it just one row at the bottom?

My granddaughter loves the bell shaped skirts in her costume, she's 8. 
she keeps twirling and doing a quick curtsy to make her skirt bell and
wants me to make her something to make her skirts bell out all the time, I
guess she feels that is pretty, or just feels feminine in it when it is
big, it's hard for an 8 year old to recognize just what it is they like
about something.  LOL   I don't think I want to do hoops for her, it
sounds like it would be to awkward for sitting down in church, but both
she and her 4 year old sister are wanting something extra.

Kitty

> I'm no Victorian expert, but since no-one seems to have answered this...
> A crinoline was a stiffened petticoat worn in the mid-19th century to
> give the skirts a dome shape without the need for multiple layers. I
> believe they were originally stiffened with horsehair ("crin" in French)
> but later used hoops.
>
> Kate Bunting
> Library, University of Derby
>
>>>> basyefelton@floodcity.net 23/05/2004 01:09:30 >>>
>  wrote:
> and from there I go on to inquire... do I understand your terminology
> right?  is a crinoline a peticoat with netting  attached to it to give
> the skirt over it poof?   and what era was this crinoline worn?   I know
> at some point that lots of petticoats gave the shape to the skirts, when
> were hoops introduced and where did the crinoline fit in?
>
>
> _______________________________________________
> 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 May 24 08:45:38 2004
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Subject: RE: [h-cost] Drawstring chemise
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A nice image of a ribbon used to hold a chemise together can be found at http://www.artformgallery.com/images2/vecchio/03_fl.jpg

It's Palma Vecchio's Flora 1480-1528

Lisa - always a day late and a dollar short on these conversations it seems......oh well


---------- Original Message ----------------------------------
From: "otsisto" <otsisto@socket.net>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Thu, 20 May 2004 17:32:40 -0500

>The bow which is a double loop and not a singular is not going into a casing
>though it could be perceived as doing so. The loop is caught up in the
>ruffle and gap/seam opening.
>This is not an example of drawstring chemise.
>
>There are portraits that show several ties on a camicia. These ties have
>been surmised as how the camicia was adjusted instead of a draw-string.
>There is a portrait that I can't find right now that have the ties between
>all of the panels. Usually,  the camicia is made of 7" wide linen panels.
>
>De
>
 
             
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Exhibit catalog from NYC 
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I posted last fall about an exhibit this spring in NYC; here's the
associated catalog:

Janet Coxe-Reanick, Splendors of the Renaissance: Princely Attire in
Italy: Reconstructions of Historic Costumes from King Studio, Italy by
Fausto Fornisari (KIng Stuidio Editions, 2004).

Caveat: A friend of mine saw the exhibit and had "concerns" about how the
reconstructions were made.

--Robin

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In a message dated 5/23/04 9:21:08 PM Central Daylight Time, dawn@reddawn.net 
writes:
Speaking of costume flicks, has anyone seen this movie, and what do you 
think of the red dress from the masque sequence?


I was extremely disappointed by the costuming in this movie.  There were so 
many opportunities to do really gorgeous things, and it seems they went the 
bizarre, Halloween-costume route every time.  Dracula's wives could have been 
done up in some spectacular garb, but their outfits ran from utterly forgettable 
to just plain ugly.  

Kate Beckinsale's character basically wore the exact same outfit through the 
whole movie (black leather-like bondage corset complete with buckles, 
Elizabethan-era embroidered chemise, men's pirate pants, and a bolero jacket which 
would have been 35 years out of style at the time) ... you'd think someone from a 
prominent family could afford a daily change of clothing.  Of course, I also 
thought her acting in this particular film held all the depth and interest of 
watching a particularly untalented sixth grader read the phone book, so 
perhaps the mono-costumic thing was appropriate.  

And the ballgown - blech.  Hated the orange-y red color, hated the modern cut 
and design, hated the feathers sticking up on the shoulders, hated the way 
the rhinestone applique made it look like they got bored after putting the first 
one on and decided not to finish it.

The entire masquerade ball scene was horrid to me.  Perhaps this is more a 
fault of the directing than the costumer, but it is a visual assault of color 
and texture that resembles an exploding crayon factory.  The eye is so 
splintered not knowing what on earth to look at, that you end up trying to look at 
everything and seeing absolutely nothing.

If you think of ballroom scenes in other films ("GWTW," Kenneth Branaugh's 
"Hamlet," "Age of Innocence"), it IS possible to do a scene in a crowded 
ballroom where the blend of color, light and costuming is harmonious and pleasing to 
the eye; and you can even look directly at a costume or two as they float by, 
and grin in appreciation.  But this film reminded me of the ballroom scene in 
"Man in the Iron Mask" ... I just wanted to close my eyes until it was over.

I'm not an anime fan by any means, so perhaps there's just rules to anime 
that I am not aware of, such as having main characters in the same, recognizeable 
outfit from start to finish.  However, it seems to me that if you're going to 
make a big budget Hollywood production, it might not be a bad idea to bend a 
few of the anime rules to actually turn out a really good movie.  And I feel 
that there are ways that they could have given the Anna character an outfit 
that she could kick butt in, but make it at least *remotely* resemble the time 
period of the movie itself in silhouette, fabrics and cut, if not 
appropriateness.  I don't know, maybe the costumer was trying to demonstrate how the family 
had spanned all these centuries.  It didn't work.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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From: =?iso-8859-1?q?Catalina=20Saravia=20Quicedo?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Re: Costume Trivia (Amy)
To: Historical Costume <h-costume@indra.com>
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Pedro Alvarez de Toledo was the father of Eleonora de
Toledo, whose dresses we all love so well.


 --- Amy <willowcreek@caltel.com> wrote: > Uh....
Zorro?
> 
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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From: "Gia" <gia_gavino@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
References: <200405240744.AA149422192@thrednedlestrete.com>
Subject: Re: [h-cost] Drawstring chemise
Date: Mon, 24 May 2004 07:36:25 -0700
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Dont' worry about beeing 'late'.  The picture link you provided is the best
and clearest I've seen for that image.

Thank you for posting it!

Emer \ Gia
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 24, 2004 5:44 AM
Subject: RE: [h-cost] Drawstring chemise


> A nice image of a ribbon used to hold a chemise together can be found at
http://www.artformgallery.com/images2/vecchio/03_fl.jpg
>
> It's Palma Vecchio's Flora 1480-1528
>
> Lisa - always a day late and a dollar short on these conversations it
seems......oh well
>


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Subject: Re: [h-cost] the red dress in 'Van Helsing'
Date: Mon, 24 May 2004 07:46:21 -0700
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I haven't seen the movie yet, but intend to.  I was under the impression
that it was mainly "fantasy", loosely based on the traditional "monsters" of
Dracula, Frankenstein and the Wolfman, that it combined "cliche" aspects
from those types of movies.  Perhaps it isn't set in any real "specific"
time period, but just kind of a "generic" time period. Her dress appears
"around" 1880, but the Dracula character wears something that almost
resembles 18th century.  I don't think there is supposed to be any real
consistancy to time period.

His crossbow looks very Jules Verne-like to me, and her main outfit looks
like a some sort of post-modern, Slavic-ethnic, pirate punk ;-)

                   .
                 /'
                //
            .  //
            |\//7
           /' " \
          .   . .
          | (    \     '._
          |  '._  '    '. '
          /    \'-'_---. ) )
         .              :.'
         |               \
         | .    .   .     .
         ' .    |  |      |
          \^   /_-':     /
          / | |    '\  .'
         / /| |     \\  |
         \ \( )     // /
          \ | |    // /
           L! !   // /   Joan Broneske
            [_]  L[_|    unicorn@surewest.net
"You always can tell who has the real power,
when you know who you cannot offend"
S.A.M.
----- Original Message ----- 
From: <Tiffsewsstuff@aol.com>
To: <h-costume@indra.com>
Sent: Monday, May 24, 2004 6:57 AM
Subject: Re: [h-cost] the red dress in 'Van Helsing'


> In a message dated 5/23/04 9:21:08 PM Central Daylight Time,
dawn@reddawn.net
> writes:
> Speaking of costume flicks, has anyone seen this movie, and what do you
> think of the red dress from the masque sequence?
>
>
> I was extremely disappointed by the costuming in this movie.  There were
so
> many opportunities to do really gorgeous things, and it seems they went
the
> bizarre, Halloween-costume route every time.  Dracula's wives could have
been
> done up in some spectacular garb, but their outfits ran from utterly
forgettable
> to just plain ugly.
>
> Kate Beckinsale's character basically wore the exact same outfit through
the
> whole movie (black leather-like bondage corset complete with buckles,
> Elizabethan-era embroidered chemise, men's pirate pants, and a bolero
jacket which
> would have been 35 years out of style at the time) ... you'd think someone
from a
> prominent family could afford a daily change of clothing.  Of course, I
also
> thought her acting in this particular film held all the depth and interest
of
> watching a particularly untalented sixth grader read the phone book, so
> perhaps the mono-costumic thing was appropriate.
>
> And the ballgown - blech.  Hated the orange-y red color, hated the modern
cut
> and design, hated the feathers sticking up on the shoulders, hated the way
> the rhinestone applique made it look like they got bored after putting the
first
> one on and decided not to finish it.
>
> The entire masquerade ball scene was horrid to me.  Perhaps this is more a
> fault of the directing than the costumer, but it is a visual assault of
color
> and texture that resembles an exploding crayon factory.  The eye is so
> splintered not knowing what on earth to look at, that you end up trying to
look at
> everything and seeing absolutely nothing.
>
> If you think of ballroom scenes in other films ("GWTW," Kenneth Branaugh's
> "Hamlet," "Age of Innocence"), it IS possible to do a scene in a crowded
> ballroom where the blend of color, light and costuming is harmonious and
pleasing to
> the eye; and you can even look directly at a costume or two as they float
by,
> and grin in appreciation.  But this film reminded me of the ballroom scene
in
> "Man in the Iron Mask" ... I just wanted to close my eyes until it was
over.
>
> I'm not an anime fan by any means, so perhaps there's just rules to anime
> that I am not aware of, such as having main characters in the same,
recognizeable
> outfit from start to finish.  However, it seems to me that if you're going
to
> make a big budget Hollywood production, it might not be a bad idea to bend
a
> few of the anime rules to actually turn out a really good movie.  And I
feel
> that there are ways that they could have given the Anna character an
outfit
> that she could kick butt in, but make it at least *remotely* resemble the
time
> period of the movie itself in silhouette, fabrics and cut, if not
> appropriateness.  I don't know, maybe the costumer was trying to
demonstrate how the family
> had spanned all these centuries.  It didn't work.
>
> -Tiffany
> Non vestimentum virum ornat, sed vir vestimentum.
> *******************************
> Reflections*of*Worth
> http://stores.ebay.com/Reflections-of-Worth
> _______________________________________________
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>
>


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Subject: [h-cost] Re: philosopher's stone
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Mike T  wrote:

> Hi, All. Hi, Ron. The only thing I can say to agree with you is to
> remind everyone that the title to the first "Harry Potter" movie had to
> be changed from Philosopher's Stone to Sorcerer's Stone in the US
> because the folks in the know thought us to be such boobs that the word
> "Philosopher" might turn us off from reading the book/going to the
> movie. Now you can see why Europe is disgusted with us on so many
> levels....Sadly, Mike T.

Yes, but . . . the question should be whether or not the folks at Scholastic
(who changed the title of the book, long before there was a movie) were
correct. By the time the movie came on the scene, the book had sold millions
of copies with that title, so there's no real reason to have reverted to the
original (largely unknown in the US) title.

In earlier books, editors changed a lot of "Britishisms" to "Americanisms,"
and of course made the infamous title change. But the fifth book retained
most British slang because (according to the article I read) so many
Americans were buying Canadian and British copies to get the "real thing."

I think based on this evidence, and the thousands if not millions of buyers
it's based on, the original decision against "philosopher's stone" was
incorrect. After all, it was simply based on a guess.

Gail Finke

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> Showtime just aired the new production, (Patrick Stewart, Glenn Close)
> tonight.  Has anyone else watched it?  What's the opinion of the clothing,
> too hollywood?  Or, somewhere in between.
>

Yeah, I wanted to watch it and I don't get Showtime!  Grrrrr.....

I would have to say, though, that Patrick Stewart and Glenn Close sound
like pretty good replacements for Peter O'Toole and Katherine Hepburn.

Diana Habra
www.RenaissanceFabrics.net
"Everything for the Costumer"
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From h-costume-bounces@indra.com  Mon May 24 11:13:19 2004
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Subject: Re: [h-cost] The Lion In Winter
Date: Mon, 24 May 2004 08:10:57 -0700
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Oh, goodness yes!  Patrick Stewart is one of my *favorite* actors.  He's
*so* versatile an actor (and handsome, too).  I remember the episode where Q
transport them all to the sherwood forest and they are all in fun costumes.
Of course, *they* weren't too happy *LOL*!

Emer \ Gia
----- Original Message ----- 
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 24, 2004 8:06 AM
Subject: Re: [h-cost] The Lion In Winter


>
> > Showtime just aired the new production, (Patrick Stewart, Glenn Close)
> > tonight.  Has anyone else watched it?  What's the opinion of the
clothing,
> > too hollywood?  Or, somewhere in between.
> >
>
> Yeah, I wanted to watch it and I don't get Showtime!  Grrrrr.....
>
> I would have to say, though, that Patrick Stewart and Glenn Close sound
> like pretty good replacements for Peter O'Toole and Katherine Hepburn.
>
> Diana Habra
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: "Helen  Pinto" <hpinto@mindspring.com>
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Subject: Re: [h-cost] The Victorian corset debate AND SHOES
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CarolynKayta wrote:
> And shoes from the 1950s deformed the feet.

My mother's feet came to points from wearing spike heels that jammed her
toes into the points; so did the feet of all my other female relatives. The
big toe was sort of curled under the next one on one side and the three
little toes did the same thing on the other.  I am still grateful (although
not at the time) that she managed to somehow find size 9 maryjanes and other
ugly (not fashionable) shoes for me to wear; my toes go straight across.  On
the other hand, I only get to buy fashion shoes in the odd years (like the
last two) when broader toes are in style.  I prefer Tevas, trainers, and
"sensible" shoes, but when I have to, I've got this one pair of low-heeled
black pumps that have gotten occasional use for nearly twenty years.
                     -Helen/Aidan


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From h-costume-bounces@indra.com  Mon May 24 11:32:03 2004
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Subject: Re: [h-cost] Re: philosopher's stone
Date: Mon, 24 May 2004 08:29:48 -0700
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Another reason may be Israel Regardes (? spelling) metaphysics book called
the Philosopher's Stone. They may have wanted to separate Harry Potter as
much as possible from the metaphysical community. Or we could all just be
stupid Americans, who knows.

B
----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Monday, May 24, 2004 7:54 AM
Subject: [h-cost] Re: philosopher's stone


> Mike T  wrote:
>
> > Hi, All. Hi, Ron. The only thing I can say to agree with you is to
> > remind everyone that the title to the first "Harry Potter" movie had to
> > be changed from Philosopher's Stone to Sorcerer's Stone in the US
> > because the folks in the know thought us to be such boobs that the word
> > "Philosopher" might turn us off from reading the book/going to the
> > movie. Now you can see why Europe is disgusted with us on so many
> > levels....Sadly, Mike T.
>
> Yes, but . . . the question should be whether or not the folks at
Scholastic
> (who changed the title of the book, long before there was a movie) were
> correct. By the time the movie came on the scene, the book had sold
millions
> of copies with that title, so there's no real reason to have reverted to
the
> original (largely unknown in the US) title.
>
> In earlier books, editors changed a lot of "Britishisms" to
"Americanisms,"
> and of course made the infamous title change. But the fifth book retained
> most British slang because (according to the article I read) so many
> Americans were buying Canadian and British copies to get the "real thing."
>
> I think based on this evidence, and the thousands if not millions of
buyers
> it's based on, the original decision against "philosopher's stone" was
> incorrect. After all, it was simply based on a guess.
>
> Gail Finke
>
> _______________________________________________
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Mon May 24 11:57:58 2004
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	Mon, 24 May 2004 08:53:23 PDT
Date: Mon, 24 May 2004 08:53:23 -0700 (PDT)
From: Dawn Jacobson <dme_maud@pacbell.net>
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Ahh, docents...can't live with the little dears, but
you really can't live without the little dears. 8-D

I've worked with docents for a number of years, and
ran training programs for docents, and I'm still
amazed by some of the information they sometimes give
forth. One of the funniest was when I was on a house
tour and listened to a very earnest young docent
describe the upstairs bathing room of a mid-19th
century mansion as a tiny room for the maid. I waited
until I had a chance to speak with her privately and
asked her where she had gotten her information, and
her answer was, "Oh, in training they told us it was a
bath room (meaning a bathing room), but it couldn't be
because it doesn't have a toilet in it."

I spent a couple of minutes explaining how bodily
functions and ablutions were taken care of in the 19th
century, and the look on her face was worth the
trouble--it was priceless! ;-)

Normally, I try to avoid the guided house tours
(unless I can prevail upon the manager or a senior
person to let me look in areas not open to the
public).

By the by, many of the smaller restoration projects
and museums would not be able to function without the
efforts of unpaid volunteers, who seem willing to take
on any task from handling correspondence to stripping
wallpaper and scrubbing floors, to leading tours. My
hat's off to them, in spite of their sometimes
"interesting" history.

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: Re: [h-cost] The Lion In Winter
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In a message dated 5/24/2004 11:08:14 AM Eastern Standard Time, 
dch@inreach.com writes:

> I would have to say, though, that Patrick Stewart and Glenn Close sound
> like pretty good replacements for Peter O'Toole and Katherine Hepburn.
> 
> 

I hate "Lion in Winter"...regardless of who's in it. What a stupid dated 
play. ZZZZZZ....



There....I said it!  :-P
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In a message dated 5/24/2004 11:12:38 AM Eastern Standard Time, 
gia_gavino@comcast.net writes:

> Oh, goodness yes!  Patrick Stewart is one of my *favorite* actors

Now this I can agree with.
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Subject: Re: [h-cost] Van Helsing red dress
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----- Original Message -----
From: "A.Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Sent: Monday, May 24, 2004 7:29 AM
Subject: [h-cost] Van Helsing red dress


> I know that the original Dracula novel was first published around 1888,
but
> I think it's safe to say that all of the costumes in this film give only a
> passing nod to historical accuracy! Having said this, they look GREAT, and
> I'm of half a mind to make some of Kate Beckinsale's costumes one of these
> days!
>
> I didn't know the movie was based on manga - what's the name of the
original
> series?
>
> Allison T.


Van Helsing  :-) I recently found a copy on DVD at my local video store.
Which means it should be pretty easy to find where you are, the selection
out here is terrible. I do know I have seen bits of the show before, in the
80's.

I should go back and pick it up, the price was pretty reasonable, and I
havent had my Japanimation fix this month yet...

Sheridan


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From h-costume-bounces@indra.com  Mon May 24 13:33:51 2004
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] The Lion In Winter
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Patrick Stweart could read the dictionary to me---and no matter how good OR bad his costumning--I would be an *esctaticly* happy woman:)
Albra

AlbertCat@aol.com wrote:
In a message dated 5/24/2004 11:12:38 AM Eastern Standard Time, 
gia_gavino@comcast.net writes:

> Oh, goodness yes! Patrick Stewart is one of my *favorite* actors

Now this I can agree with.
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Subject: [h-cost] Troy - I have an idea.
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I've noticed that I haven't seen much said so far about "Troy" - probably 
for the obvious reason that this list deals with historical costuming, and 
most of what was on there was, um, not.

Would it be possible to try to discuss it and look at the things that were 
done correctly?  As I told my wife, it's not the Illiad, but it was nice to 
see how much of the Illiad they actually managed to stick in there :)

For example, with the combat, I was delighted by the fact that the fight 
choreographer had obviously spent some time looking at the vase paintings :) 
    With the armor --it's pretty clear that while the armor was inspired by 
histoprical armor forms from Greece (it should be noted that putting the 
folks in the Trojan War into kit modeled on classical greek forms is pretty 
much the same as sticking Arthurian folks into Plate armor - it makes sense 
from the standpoint of telling the myth, but probably doesn't reflect what 
might have actually been worn.  OTOH, since I don't think that Arthur or 
Troy are more than myths layered over god knows what, dressing them in the 
"correct" clothes is pretty anachronistic too :) ) .  However from those 
classical forms, they sort of wandered off into what looks cool.  Even so, I 
think the armor looked pretty nifty - lots of attention to detail.

Now (and didn't you know it was coming) the footwear.  All things 
considered, based on what I saw on screen, I was pretty happy with it.  
Admittedly we have zero (0) examples of Grecian era footwear, but we have 
lots of pictures and statues.  Which means that we have some theories about 
how they were done.   From what I could see of the shoes and boots, it looks 
to me like the costumers actually took those into consideration (and of 
course then wandered off into what-looks-cool land, but don't think I'm 
being critical there :) ).  Very nicely done, all in all.

As for the rest of the costuming...  It did an excellent and  interesting 
job of describing the various characters with visual suggestions (for 
example, making Agamemnon look like an oriental potentate)

All in all, I had a good time with it.

Marc

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Subject: [h-cost] thanks re: nursing portraits
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 Unfortunately I couldn't find the image on the Swedish Museum site, but I was able to webcrawl for nursing madonnas and I found some great images.

One I found was a beautiful example of what Katie suggested. Unfortunately there was no information on the image. 

Thanks, Now I need time to make the dress. 
Wendy
www.hecate.ca/emma/


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Subject: Re: [h-cost] The Lion In Winter
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Especially on some pillows on in front of a nice fire, a couple of bottles
of champagne and our favorite foods at our elbows...  (off day dreaming...)

Emer \ Gia
----- Original Message ----- 
From: "KATHRYN WOLTERS" <albrakat7@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 24, 2004 10:24 AM
Subject: Re: [h-cost] The Lion In Winter


> Patrick Stweart could read the dictionary to me---and no matter how good
OR bad his costumning--I would be an *esctaticly* happy woman:)
> Albra
>
> AlbertCat@aol.com wrote:
> In a message dated 5/24/2004 11:12:38 AM Eastern Standard Time,
> gia_gavino@comcast.net writes:
>
> > Oh, goodness yes! Patrick Stewart is one of my *favorite* actors
>
> Now this I can agree with.
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Subject: Re: [h-cost] the red dress in 'Van Helsing'
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----- Original Message -----
From: "Joan Broneske"
Subject: Re: [h-cost] the red dress in 'Van Helsing'


> I haven't seen the movie yet, but intend to.  I was under the impression
> that it was mainly "fantasy", loosely based on the traditional "monsters"
of
> Dracula, Frankenstein and the Wolfman, that it combined "cliche" aspects
> from those types of movies.  Perhaps it isn't set in any real "specific"
> time period, but just kind of a "generic" time period. Her dress appears
> "around" 1880, but the Dracula character wears something that almost
> resembles 18th century.  I don't think there is supposed to be any real
> consistancy to time period.
>
> His crossbow looks very Jules Verne-like to me, and her main outfit looks
> like a some sort of post-modern, Slavic-ethnic, pirate punk ;-)
>

I have to say I loved her embroidered shirts (there really were only two)
but I have always been into 'hippie' chic. :-)

Go on a cheap night or a half-price matinee, and leave your brain at the
door. We went not expecting a brilliant challenging movie, we went looking
for cheezy goodness, and we had a good time. :-) I am however a fan of B
movies, so can apprecciate a bad movie, provided it entertains me. This one
did.

I suspect the actors did this movie merely to help them fund their
lifestyle. 'Hmm, the significant other wants a new pool, and I would like a
new car... sure I'll do this show!'

After all, its an action movie based on Japanese Manga based on a series of
monster movies based on a variety of books. How good could it be?  :-)

Sheridan

PS: nice to see the actors from LOTR are still getting work. (Faramir, is
that you?) ;-)


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Subject: Re: [h-cost] The Lion In Winter
Date: Mon, 24 May 2004 14:36:21 -0400
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I personally think James Earl Jones has the most beautiful speaking voice I
have ever heard..

Dianne
----- Original Message ----- 
From: "Gia" <gia_gavino@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 24, 2004 2:13 PM
Subject: Re: [h-cost] The Lion In Winter


> Especially on some pillows on in front of a nice fire, a couple of bottles
> of champagne and our favorite foods at our elbows...  (off day
dreaming...)
>
> Emer \ Gia
> ----- Original Message ----- 
> From: "KATHRYN WOLTERS" <albrakat7@yahoo.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, May 24, 2004 10:24 AM
> Subject: Re: [h-cost] The Lion In Winter
>
>
> > Patrick Stweart could read the dictionary to me---and no matter how good
> OR bad his costumning--I would be an *esctaticly* happy woman:)
> > Albra
> >
> > AlbertCat@aol.com wrote:
> > In a message dated 5/24/2004 11:12:38 AM Eastern Standard Time,
> > gia_gavino@comcast.net writes:
> >
> > > Oh, goodness yes! Patrick Stewart is one of my *favorite* actors
> >
> > Now this I can agree with.
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> > ---------------------------------
> > Do you Yahoo!?
> > Yahoo! Domains - Claim yours for only $14.70/year
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> >
>
>
> _______________________________________________
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Subject: [h-cost] Re:the red dress in 'Van Helsing'
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I could only get one of the links to work, but from what I could see, yeah, this could be based roughly on something real (well, as real as the fashion plates of Harper's Bazar can be). _Victorian Fashions & Costumes from Harper's Bazar:1867-1898_ Page 189, figure 'h' - "embroidered surah dress" or, even possibly the dress on the front page, which is defined as an Evening Toilette. Granted, a scaled down variety in terms of its' detailing and the missing undergarments, but I can see a paralell. I think the term "Modern Interpretation" can be applied here.

Kathy

Subject: [h-cost] the red dress in 'Van Helsing'
Speaking of costume flicks, has anyone seen this movie, and what do you 
think of the red dress from the masque sequence?

http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/29.jpg

http://www.outnow.ch/Media/Img/2004/VanHelsing/movie.1/07.jpg

http://www.imdb.com/gallery/ss/0338526/Ss/0338526/2299-K924-20A.jpg?path=gallery&path_key=0338526


I'm wondering if it was based on something real, or if it is fantasy.



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Subject: [h-cost] Re: Troy - I have an idea.
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Well, the womens' costumes *were* better that
_Gladiator_.

That doesn't take a lot, really.

I'm extemely certain that the ocstume designer used
Thomas Hope's _Costumes of the Greeks and Romans_,
whihc means he actually did use a source.  The
promotional stuff also says that he made museum guards
nervous getting too close to bas-reliefs and the like.
 

It wasn't great, but they got the _feel_ of ANcient
Greece, sort of.  There were a number of glaring
errors, but I promised the person I watch _Troy_ with
that I would not get snarky *during* the movie.

Aurelia

>> I've noticed that I haven't seen much said so far
about "Troy" - 
probably 
for the obvious reason that this list deals with
historical costuming, 
and 
most of what was on there was, um, not.

Would it be possible to try to discuss it and look at
the things that 
were 
done correctly?  As I told my wife, it's not the
Illiad, but it was 
nice to 
see how much of the Illiad they actually managed to
stick in there :)



	
		
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From: Dawn Jacobson <dme_maud@pacbell.net>
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Diana wrote: 

> > Yeah, I wanted to watch it and I don't get
> Showtime!  Grrrrr.....
> >
> > I would have to say, though, that Patrick Stewart
> and Glenn Close sound
> > like pretty good replacements for Peter O'Toole
> and Katherine Hepburn.

I haven't seen it either (we have HBO), but I did see
a couple of stills in yesterday's papers and Glenn
Close looked splendid--same regal bearing as Kate
Hepburn. My guess is Showtime will make it available
on DVD shortly.

Perhaps I'm simply emerging from under the mountain of
papers, but "Girl with a Pearl Earring" has been
released on DVD and is available at Costco (definitely
the place to buy DVDs cheap).

Dawn

=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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In a message dated 5/24/2004 2:39:27 PM Eastern Standard Time, 
goofy1@suscom.net writes:

> I personally think James Earl Jones has the most beautiful speaking voice I
> have ever heard..
> 

Indeed.

And in the female dept.....


Remember Joan Greenwood? ["Kind Hearts and Coronets", "Little Dorrit"] What a 
voice!

How about Tammy Grimes?
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tailor's
References: <IDEHICPIJOEBPADHEOGPEEGDCHAA.otsisto@socket.net>
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Thanks for the reference, anyway.

Jean


Susan Carroll-Clark <nicolaa@rogers.com> wrote
>Greetings--
>
>> Is this a source you could dig out?  Given that your survey was over
>> nearly a century, and the other reference you had was near the end of
>> that period, it would be interesting to know how early you found the
>> name.  (my group only do up to 1215)
>
>R.E.G. Kirk, (ed.) _Feet of Fines for Essex_. (Vol. 1) Colchester: Essex
>Archaeological Society, 1899-/
>
>What the Feet of Fines is is a collection of legal documents regarding land
>transfers.  A "fine" is the record of a land transaction, and they are
>called "feet" because there were three records made:  One on the left-hand
>side of the document, one on the right, and one at the bottom (the "foot")
>The bottom one was the one that was kept by the archive; with the other two
>copies going to the two parties.   There are literally hundreds of
>transactions in the book.  The good thing is, if you can get hold of a copy,
>there is an index by surname in the back, so you should be able to look up
>the (le) Taillur - type entries for date.  As I said, my concern was doing a
>statistical survey of given names; I only noted the surnames in passing, so
>I couldn't tell you right off whether a particular name occurred before a
>particular date.
>
>Susan
>
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-- 
Jean Waddie
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In a message dated 5/24/2004 2:42:28 PM Eastern Standard Time, 
aureliarufinia@yahoo.com writes:

> I'm extemely certain that the ocstume designer used
> Thomas Hope's _Costumes of the Greeks and Romans_,
> whihc means he actually did use a source.  The
> promotional stuff also says that he made museum guards
> nervous getting too close to bas-reliefs and the like.
> 

That's Bob Ringwood. I like his stuff. He did the Batman Movies, David 
Lynch's "Dune", and is the art director for "The Draughtsman's Contract".
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] RE: Tailor's
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The suffix "-ster" always indicated a woman - brewer/brewster, 
weaver/webster etc.  I guess that distinction died out and people forgot 
it, and then added the "-ess" bit again to indicate female - like those 
places called "hill-hill-hill" in three different languages.

Jean


Marc Carlson <marccarlson20@hotmail.com> wrote
>>From: "otsisto" <otsisto@socket.net>
>>So from what I can understand from this, someone refered to as a tailor in
>>the 12th cent. could have been male or female and then gradually became a
>>reference to a male sewer?
>
>I think the quotes in question say nothing about the gender of a tailor.
>
>The term "sempster" was originally a woman, which then came to refer to 
>either gender, then only men, with the women taking up the term 
>"semptress" by 1644.
>
>Marc
>
>> >Tailor = male sewer
>> >Seamstress + female sewer
>>
>>OED  - Tailor
>>1. a. â€˜One whose business is to make clothesâ€™ (J.); a maker of the outer
>>garments of men, also sometimes those of women, esp. riding-habits, walking
>>costumes, etc. See also MERCHANT-TAILOR.  (Although historically the tailor
>>is the cutter, in the trade the â€˜tailorâ€™ is the man who sews or makes up
>>what the â€˜cutterâ€™ has shaped.)  1297 R. GLOUC. (Rolls) 6391 A robe he let
>>him ssape uerst of blod red scarlet there the ssarpe stones bi the stret is
>>tailors were..the tailors corue so moni peces uor is robe ne ssolde pow3e.
>>
>>OED - Seamstress, Sempstress
>>A woman who seams or sews; a needlewoman whose occupation is plain 
>>sewing as
>>distinguished from dress or mantle-making, decorative embroidery, etc. 
>>1644
>>HOWELL Twelve Treat. (1661) 47 A great masse of money and plate was brought
>>into the Guild-hall, the Semstresse brought in her silver 
>>Thimble,..the Cook
>>his Spoons.
>>
>>However,
>>
>>OED Seamster, Sempster
>>One who sews; one whose occupation is sewing, esp. the making and 
>>mending of
>>garments; a tailor, seamstress.
>>Originally a designation of a woman, but in OE. already applicable to 
>>a man.
>>Now only applied to one of the male sex, seamstress being commonly used for
>>a female sewer.
>>c995 in Kemble Cod. Diplom. VI. 131 Ane crencestrÃ¦n, and ane semestran.
>
>_________________________________________________________________
>Express yourself with the new version of MSN Messenger! Download today 
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After a bit of searching, I finally found an in-costume photo online:

http://graphics.jsonline.com/graphics/owlive/img/may04/close0523_big.jpg

IMDB doesn't have photos yet, and most of the other places I checked 
only had the movie title/art/poster.

-- 
Cynthia Virtue
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Subject: [h-cost] Van Helsing
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I have to agree with most of what you say about the costumes from this film.
The one exception I have is the "Elizabethan-era embroidered chemise".  This
was a blouse in a style with embroidery patterns typical of the Transylvania
area.  In fact there is an exporter there currently who carries blouses just
like it.  It was called Carpathia or something similar.  I stumbled over
them looking for more authentic garb.
Julie
>

>Kate Beckinsale's character basically wore the exact same outfit
>through the
>whole movie (black leather-like bondage corset complete with buckles,
>Elizabethan-era embroidered chemise, men's pirate pants, and a
>bolero jacket which
>would have been 35 years out of style at the time) ... you'd think
>someone from a
>prominent family could afford a daily change of clothing.  Of
>course, I also
>thought her acting in this particular film held all the depth and
>interest of
>watching a particularly untalented sixth grader read the phone book, so
>perhaps the mono-costumic thing was appropriate.
>

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] The Lion In Winter
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Well, he would be a close decond to Patrick for me---BOTH sexy voiced men , as far as I'm concerned:)
Albra
(dreaming of having them BOTH to read to me in front of that nice cozy fire---*sigh*)

Dianne & Greg Stucki <goofy1@suscom.net> wrote:
I personally think James Earl Jones has the most beautiful speaking voice I
have ever heard..

Dianne
----- Original Message ----- 
From: "Gia" 
To: "Historical Costume" 
Sent: Monday, May 24, 2004 2:13 PM
Subject: Re: [h-cost] The Lion In Winter


> Especially on some pillows on in front of a nice fire, a couple of bottles
> of champagne and our favorite foods at our elbows... (off day
dreaming...)
>
> Emer \ Gia
> ----- Original Message ----- 
> From: "KATHRYN WOLTERS" 
> To: "Historical Costume" 
> Sent: Monday, May 24, 2004 10:24 AM
> Subject: Re: [h-cost] The Lion In Winter
>
>
> > Patrick Stweart could read the dictionary to me---and no matter how good
> OR bad his costumning--I would be an *esctaticly* happy woman:)
> > Albra
> >
> > AlbertCat@aol.com wrote:
> > In a message dated 5/24/2004 11:12:38 AM Eastern Standard Time,
> > gia_gavino@comcast.net writes:
> >
> > > Oh, goodness yes! Patrick Stewart is one of my *favorite* actors
> >
> > Now this I can agree with.
> > _______________________________________________
> > 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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Julie,
Do you remember the address of the site with the blouse with Carpatian
embroidery?  I just Froogled it and came up empty.  

Thanks,
Kathy Hoover

>>> jtknits@cts.com 5/24/2004 4:08:13 PM >>>
I have to agree with most of what you say about the costumes from this
film.
The one exception I have is the "Elizabethan-era embroidered chemise". 
This
was a blouse in a style with embroidery patterns typical of the
Transylvania
area.  In fact there is an exporter there currently who carries blouses
just
like it.  It was called Carpathia or something similar.  I stumbled
over
them looking for more authentic garb.
Julie
>


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


And did anyone notice that (as far as the series showed), only Mistress
Voohrees was punished for missing Sunday service, while her son and husband
(who
also was a Council member) were not?
_________________
Interesting. From what I understand, about this time with the church and
laws, the husband is responsible for the actions of his wife. If he and his
family were not in church, the husband would have been the one brought
before the Council.
The wife would be brought in if she was the instigator in not attending
church.
This way of rules/law may not have been practiced in all the colonies.

De

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Date: Mon, 24 May 2004 15:51:23 -0500
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>From: Jean Waddie <anne@montgomerie.demon.co.uk>
>The suffix "-ster" always indicated a woman - brewer/brewster,
>weaver/webster etc.  I guess that distinction died out and people forgot
>it, and then added the "-ess" bit again to indicate female - like those
>places called "hill-hill-hill" in three different languages.

Has anyone mentioned that to the Teamsters? :)

The OED's description of this process is interesteing and a lot longer, but 
does not differ from yours to any great degree.  The entry also suggests 
Sartor as a possible alternative as well, although it's considerably later 
than the 12th century that's been under discussion.

Marc

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] RE: Tailor's
Date: Mon, 24 May 2004 15:53:41 -0500
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But it still comes down to whether Tailor was unisexed of gender specific in the 1100s. So far, the only sex identification is "le" for male and "la"(?)for female. It appears that tailor is French in origin.
Thank you all for the information.

De

-----Original Message-----
The suffix "-ster" always indicated a woman - brewer/brewster, 
weaver/webster etc.  I guess that distinction died out and people forgot 
it, and then added the "-ess" bit again to indicate female - like those 
places called "hill-hill-hill" in three different languages.

Jean


Marc Carlson <marccarlson20@hotmail.com> wrote
>>From: "otsisto" <otsisto@socket.net>
>>So from what I can understand from this, someone refered to as a tailor in
>>the 12th cent. could have been male or female and then gradually became a
>>reference to a male sewer?
>
>I think the quotes in question say nothing about the gender of a tailor.
>
>The term "sempster" was originally a woman, which then came to refer to 
>either gender, then only men, with the women taking up the term 
>"semptress" by 1644.
>
>Marc
>
>> >Tailor = male sewer
>> >Seamstress + female sewer
>>
>>OED  - Tailor
>>1. a. â€˜One whose business is to make clothesâ€™ (J.); a maker of the outer
>>garments of men, also sometimes those of women, esp. riding-habits, walking
>>costumes, etc. See also MERCHANT-TAILOR.  (Although historically the tailor
>>is the cutter, in the trade the â€˜tailorâ€™ is the man who sews or makes up
>>what the â€˜cutterâ€™ has shaped.)  1297 R. GLOUC. (Rolls) 6391 A robe he let
>>him ssape uerst of blod red scarlet there the ssarpe stones bi the stret is
>>tailors were..the tailors corue so moni peces uor is robe ne ssolde pow3e.
>>
>>OED - Seamstress, Sempstress
>>A woman who seams or sews; a needlewoman whose occupation is plain 
>>sewing as
>>distinguished from dress or mantle-making, decorative embroidery, etc. 
>>1644
>>HOWELL Twelve Treat. (1661) 47 A great masse of money and plate was brought
>>into the Guild-hall, the Semstresse brought in her silver 
>>Thimble,..the Cook
>>his Spoons.
>>
>>However,
>>
>>OED Seamster, Sempster
>>One who sews; one whose occupation is sewing, esp. the making and 
>>mending of
>>garments; a tailor, seamstress.
>>Originally a designation of a woman, but in OE. already applicable to 
>>a man.
>>Now only applied to one of the male sex, seamstress being commonly used for
>>a female sewer.
>>c995 in Kemble Cod. Diplom. VI. 131 Ane crencestrÃ¦n, and ane semestran.
>
>_________________________________________________________________
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I know what he's talking about but don't know the name either.
Also, I can not find the site I had on how to make one of these.

De
-----Original Message-----
Hi all,

I'm trying to put together a late pd. German look, but I don't know
what the actual name for the garb I want is.  It is refered to as
the "German man dress"  it's like a vest with a pleated skirt.  Does
anyone know the actual name of this beast?  I know if you do one
poorly it winds up looking like a sun dress.

Thanks for your help

Kylan



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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] FW: [standing_stones] Garb question
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Hi De,

It's called a waffenrock. I made one last year for a client at the request 
of a mutual friend. The friend did the skirt with organ pleats, and I did 
the "doublet" and slashed sleeves part. It was interesting and a challenge. 
More info on all costumes Ren German can be found at the GermanRenCostume 
yahoogroup. (http://groups.yahoo.com/group/GermanRenCostume/). Organ pleats 
info came from a handout written by Julie Adams, and it doesn't have an 
Internet url on it. However, the GermanRenCostume files area has a pattern 
for "bases", which is the common term for the military skirt that is part 
of the waffenrock. The group also has other files and the people there are 
helpful with costuming questions.

hth,

Kimiko



At 04:18 PM 5/24/2004 -0500, you wrote:
>I know what he's talking about but don't know the name either.
>Also, I can not find the site I had on how to make one of these.
>
>De
>-----Original Message-----
>Hi all,
>
>I'm trying to put together a late pd. German look, but I don't know
>what the actual name for the garb I want is.  It is refered to as
>the "German man dress"  it's like a vest with a pleated skirt.  Does
>anyone know the actual name of this beast?  I know if you do one
>poorly it winds up looking like a sun dress.
>
>Thanks for your help
>
>Kylan


Kimiko Small
Owner & Creator of DreamTime Studios
http://www.dreamtime-studios.com

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

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To: Historical Costume <h-costume@indra.com>
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At 03:41 PM 5/24/2004 -0400, you wrote:
>After a bit of searching, I finally found an in-costume photo online:
>
>http://graphics.jsonline.com/graphics/owlive/img/may04/close0523_big.jpg
>
>IMDB doesn't have photos yet, and most of the other places I checked only 
>had the movie title/art/poster.
>
>--
>Cynthia Virtue


Try the SHO.com website. It has several photos, starting here
http://www.sho.com/site/schedules/product_page.do?episodeid=117924&include=01photos.inc&seriesid=0

I Tivo'd it, so we get to watch it tonight.

Kimiko


Kimiko Small
Owner & Creator of DreamTime Studios
http://www.dreamtime-studios.com

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

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Drawstring chemise
Date: Mon, 24 May 2004 17:17:05 -0500
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Oooh new picture to copy!
It's not a drawstring chemise but what I would call laced. 

Thank you,
De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Gia
Sent: Monday, May 24, 2004 8:36 AM
To: Historical Costume
Subject: Re: [h-cost] Drawstring chemise


Dont' worry about beeing 'late'.  The picture link you provided is the best
and clearest I've seen for that image.

Thank you for posting it!

Emer \ Gia
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 24, 2004 5:44 AM
Subject: RE: [h-cost] Drawstring chemise


> A nice image of a ribbon used to hold a chemise together can be found at
http://www.artformgallery.com/images2/vecchio/03_fl.jpg
>
> It's Palma Vecchio's Flora 1480-1528
>
> Lisa - always a day late and a dollar short on these conversations it
seems......oh well
>


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From h-costume-bounces@indra.com  Mon May 24 18:31:22 2004
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Subject: [h-cost] Garb question
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Thank you.
I had found not to long back a site that showed their interpretation of the
garment. I guess if I find it back I find it back.
Thank you again, much appreciated.
De

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kimiko Small
Sent: Monday, May 24, 2004 3:49 PM
To: Historical Costume
Subject: Re: [h-cost] FW: [standing_stones] Garb question


Hi De,

It's called a waffenrock. I made one last year for a client at the request
of a mutual friend. The friend did the skirt with organ pleats, and I did
the "doublet" and slashed sleeves part. It was interesting and a challenge.
More info on all costumes Ren German can be found at the GermanRenCostume
yahoogroup. (http://groups.yahoo.com/group/GermanRenCostume/). Organ pleats
info came from a handout written by Julie Adams, and it doesn't have an
Internet url on it. However, the GermanRenCostume files area has a pattern
for "bases", which is the common term for the military skirt that is part
of the waffenrock. The group also has other files and the people there are
helpful with costuming questions.

hth,

Kimiko



At 04:18 PM 5/24/2004 -0500, you wrote:
>I know what he's talking about but don't know the name either.
>Also, I can not find the site I had on how to make one of these.
>
>De
>-----Original Message-----
>Hi all,
>
>I'm trying to put together a late pd. German look, but I don't know
>what the actual name for the garb I want is.  It is refered to as
>the "German man dress"  it's like a vest with a pleated skirt.  Does
>anyone know the actual name of this beast?  I know if you do one
>poorly it winds up looking like a sun dress.
>
>Thanks for your help
>
>Kylan


Kimiko Small
Owner & Creator of DreamTime Studios
http://www.dreamtime-studios.com

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

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From h-costume-bounces@indra.com  Mon May 24 19:06:54 2004
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Subject: RE: [h-cost] Drawstring chemise
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I don't think it's a drawstring chemise either, but I did have to look at the left side ribbon more than once to make sure.  For a moment it did look like it might be coming from a tunnel, so perhas the other portrait in question has a similar illusion.

Lisa Sinervo
---------- Original Message ----------------------------------
From: "otsisto" <otsisto@socket.net>
Reply-To: Historical Costume <h-costume@indra.com>
Date:  Mon, 24 May 2004 17:17:05 -0500

>Oooh new picture to copy!
>It's not a drawstring chemise but what I would call laced. 
>
>Thank you,
>De
>
 
             
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] the red dress in 'Van Helsing'
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The costume designer is Gabriella Pescucci, who won the Oscar fro Age of Innocence, 
and usually knows her stuff. However, the 'stuff' for this film seems to be quite tongue-in-
cheek (I laughed throughout), so I'm sure they weren't looking for strict accuracy! It 
reminded me of the one Winona Ryder wears in 'Bram Stoker's Dracula', and since VH 
seemed to reference every other vampire/monster movie made, it may have been an 
homage. Because tight pants, leather corsets and heeled knee high boots aren't really 
appropriate late nineteenth century Romanian women's wear either ;) File it with 
'historically referenced fantasy'

re: actors from LOTR - three Australians in the leads in a non-Australian film! Brilliant. 
Loved Richard Roxburgh as Dracula (the duke from Moulin Rouge, in which 'Faramir' 
also appears, heavily made up, as Aubrey ). Hammier than a pig farm.
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Subject: Re: [h-cost] Re: Troy - I have an idea.
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I was prepared to dislike it; I actually enjoyed it.  I saw it on a very big
screen, and it was close enough to really see the weaving.  Those ikat bands
on the edge of Priam's robe were incredible.  (Non-costume-related:  The
individual combats were seriously cool.)
              -Helen/Aidan


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: philosopher's stone
Date: Mon, 24 May 2004 18:36:03 -0700
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> In earlier books, editors changed a lot of "Briticisms" to
> "Americanisms,"
> and of course made the infamous title change. But the fifth book retained
> most British slang because (according to the article I read) so many
> Americans were buying Canadian and British copies to get the "real thing."

	I bought 2 copies of each book.  One from Amazon.com, and one from
Amazon.uk.  I think someone's idiot nephew needed a job and they gave him
the "translations" to do.
	I personally grew up reading the books by Enid Blyton with British kids and
stories.  I've never had any problem telling a windscreen from a windshield.
I must admit that the kids taking "rugs" along on camping trips threw me
until I realized she meant blankets, but it didn't bollix up the story any.
Same with the Narnia and E. Nesbitt, Lloyd Alexander and all the other books
I have read and loved and give copies to my nieces and nephews, now my Great
nieces.

Regina


>
> I think based on this evidence, and the thousands if not millions
> of buyers
> it's based on, the original decision against "philosopher's stone" was
> incorrect. After all, it was simply based on a guess.
>
Yes.  Personally, I think the whole hoorah about changing the name of the
first book had more to do with the contempt that the publisher had for the
American public's intelligence, than is actually the case.  We will never
have any evidence that American children would have been devastated by
Philosopher or Sorcerer.  We just know that the accusation has been made,
and the fact that the publisher changed the names is taken as proof positive
that they are slobbering idiots as compared to their British counterparts.
(Wonder how many of them knew about the Philosopher's Stone before the book
title came out?  Wonder how many still know what it was supposed to be in
medieval literature?  Bet most think Rowling made it all up out of her
head.)

Regina

> Gail Finke
>


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I had heard about and wanted to see it but I just discovered that the showtime link won't work in the UK.  <pout>  Anyone know if it is going to air over here?

Cheers,
Danielle

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

>At 03:41 PM 5/24/2004 -0400, you wrote:
>Try the SHO.com website. It has several photos, starting here
>http://www.sho.com/site/schedules/product_page.do?episodeid=117924&include=01photos.inc&seriesid=0
>
>I Tivo'd it, so we get to watch it tonight.
>
>Kimiko



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Greetings,

That was the one that came to mind for me as well, and I just realized I never saw my post referring to it come through on the list. : )

Cheers,
Danielle

>A nice image of a ribbon used to hold a chemise together can be found at http://www.artformgallery.com/images2/vecchio/03_fl.jpg
>
>It's Palma Vecchio's Flora 1480-1528
>
>Lisa - always a day late and a dollar short on these conversations it seems......oh well
>
>
>---------- Original Message ----------------------------------
>From: "otsisto" <otsisto@socket.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>Date:  Thu, 20 May 2004 17:32:40 -0500
>
>>The bow which is a double loop and not a singular is not going into a casing
>>though it could be perceived as doing so. The loop is caught up in the
>>ruffle and gap/seam opening.
>>This is not an example of drawstring chemise.
>>
>>There are portraits that show several ties on a camicia. These ties have
>>been surmised as how the camicia was adjusted instead of a draw-string.
>>There is a portrait that I can't find right now that have the ties between
>>all of the panels. Usually,  the camicia is made of 7" wide linen panels.
>>
>>De
>>
> 
>             
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From: "Marc Carlson" <marccarlson20@hotmail.com>

<snip>

>For example, with the combat, I was delighted by the fact that the fight 
>choreographer had obviously spent some time looking at the vase paintings :) 
>    With the armor --it's pretty clear that while the armor was inspired by 
>histoprical armor forms from Greece (it should be noted that putting the 
>folks in the Trojan War into kit modeled on classical greek forms is pretty 
>much the same as sticking Arthurian folks into Plate armor - it makes sense 
>from the standpoint of telling the myth, but probably doesn't reflect what 
>might have actually been worn.  OTOH, since I don't think that Arthur or 
>Troy are more than myths layered over god knows what, dressing them in the 
>"correct" clothes is pretty anachronistic too :) ) .  However from those 
>classical forms, they sort of wandered off into what looks cool.  Even so, I 
>think the armor looked pretty nifty - lots of attention to detail.

>Now (and didn't you know it was coming) the footwear.  All things 
>considered, based on what I saw on screen, I was pretty happy with it.  
>Admittedly we have zero (0) examples of Grecian era footwear, but we have 
>lots of pictures and statues.  Which means that we have some theories about 
>how they were done.   From what I could see of the shoes and boots, it looks 
>to me like the costumers actually took those into consideration (and of 
>course then wandered off into what-looks-cool land, but don't think I'm 
>being critical there :) ).  Very nicely done, all in all.
>
>As for the rest of the costuming...  It did an excellent and  interesting 
>job of describing the various characters with visual suggestions (for 
>example, making Agamemnon look like an oriental potentate)
>
>All in all, I had a good time with it.
>
>Marc

I haven't seen the movie yet but have seen trailers and posters and I'm glad to see your observations suggest that I am probably going in the right direction with my thoughts on the matter.  
I took a class on art and the Trojan war (we read the Illiad during of course) and I was pleased that the movie includes both main types of shields displayed in Greek art about the Trojan war.  I was curious for those who have seen it, did they use any of the Greek costuming conventions such as leggings or trousers on the Trojans to show their foreigness?

Oh, Marc, on the subject of footwear - were you aware of thesis (Can't remember the woman's name) which was done using the stylistic analysis of Greek footwear in sculpture?  Some of the findings turned the entire Greek art community on its head.  A sculpture which had been attributed to Praxitales (sp?) was proved that it had to have been a much later copy since the style of the figure's footwear didn't come into use until at least a hundered years after Praxitales was dead.

Cheers,
Danielle


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I've never worn anything but a basic 16th c. corset, and while it 
certainly supports the girls a LOT better than any modern bra I've ever 
tried, I was never able to bend over in it--probably had something to do 
with all that metal.
If I ever get around to making my 1760-ish middle class (colonial) 
outfit, which I want to do just for fun, I plan on trying half-boned stays.
Dunno if I'd ever be svelt enough to wear anything Victorian or 
Edwardian....
--sue

Bice wrote:
> *G* I'm with you. My corsetted (not tight-laced that's different
> measurements) is 40" as well. I can bend jump up and down etc. Also see a
> book called The Happy Valley The Elegant Eighties in Upstate NY by Pauline
> Dakin Taft by Syracuse University Press for women in bustles playing tennis
> and jumping over the net!!

> ----- Original Message ----- 
> From: "Carolyn Kayta Barrows" <kayta@frys.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, May 23, 2004 11:43 PM
> Subject: Re: [h-cost] The Victorian corset debate
> 
> 
> 
>>>4) The confrontational part of me says - yes, dress up in full Victorian
>>>gear and tour the museum, showing your full balance and lack of crushed
>>>ribcages ;)
>>
>>My corseted waist these days is near 40".  And I amazed the folks at the
>>Hyde Street Pier living history day by reaching over and touching my toes
>>while wearing mine - a c1901 straight-front.


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From: "Bice" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] The Victorian corset debate
Date: Mon, 24 May 2004 23:38:15 -0400
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Edwardian women were *not* svelte. In fact it was the curvier the better.
Most of my corsets are s-curve Edwardian's or V-shaped post CW.
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 24, 2004 10:54 PM
Subject: Re: [h-cost] The Victorian corset debate


> I've never worn anything but a basic 16th c. corset, and while it
> certainly supports the girls a LOT better than any modern bra I've ever
> tried, I was never able to bend over in it--probably had something to do
> with all that metal.
> If I ever get around to making my 1760-ish middle class (colonial)
> outfit, which I want to do just for fun, I plan on trying half-boned
stays.
> Dunno if I'd ever be svelt enough to wear anything Victorian or
> Edwardian....
> --sue
>
> Bice wrote:
> > *G* I'm with you. My corsetted (not tight-laced that's different
> > measurements) is 40" as well. I can bend jump up and down etc. Also see
a
> > book called The Happy Valley The Elegant Eighties in Upstate NY by
Pauline
> > Dakin Taft by Syracuse University Press for women in bustles playing
tennis
> > and jumping over the net!!
>
> > ----- Original Message ----- 
> > From: "Carolyn Kayta Barrows" <kayta@frys.com>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Sunday, May 23, 2004 11:43 PM
> > Subject: Re: [h-cost] The Victorian corset debate
> >
> >
> >
> >>>4) The confrontational part of me says - yes, dress up in full
Victorian
> >>>gear and tour the museum, showing your full balance and lack of crushed
> >>>ribcages ;)
> >>
> >>My corseted waist these days is near 40".  And I amazed the folks at the
> >>Hyde Street Pier living history day by reaching over and touching my
toes
> >>while wearing mine - a c1901 straight-front.
>
>
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From h-costume-bounces@indra.com  Mon May 24 23:43:58 2004
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Status: RO

You guys are so cool!  I wrote my Masters thesis about the Salem witch
trials, and some of this conversation seems to be beinging napping memory
cells back to life... So far I haven't really liked any of the movies or
TV recreations of the times/trials...there was far more to it than people
seem to think.

Yours in costuming, Lisa A.

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From h-costume-bounces@indra.com  Tue May 25 00:09:05 2004
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From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
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Subject: [h-cost] Yet another bodice question
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Status: RO

Here's another bodice question for those of you who know what you are doing
far better than I.   :-)

I have loved this painting ever since I first found it:
http://costume.dm.net/gallery/1569.html

Now for the dangerous part. :-)  I just found today some gorgeous orange
fabric *and* some embroidered fabric that resembles her shirt. (my resolve
to not buy any more fabric until I finish at least a couple of other
projects is rapidly crumbling)

My question is: would the young lady be wearing just a corset beneath her
bodice, or would her bodice be boned as well? If you look closely at the
picture, you can see the lacing of her shirt/partlet through the gap in her
bodice, but you can't tell if there is a corset there. ( which could be
explained by her wearing her shirt/partlet over it) Also, the bodice itself
seems to be somewhat stiff, as it looks like it stands away from her
bustline.

Up to this point I have only dabbled my toes into the later period garments,
(usually I do Near Eastern and early period clothing) I have yet to properly
finish a full gown for fear of Getting It Wrong. This dress seems to want to
get itself made, and I need all the help I can get.  :-)

Thanks all!

Sheridan


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


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From h-costume-bounces@indra.com  Tue May 25 00:56:57 2004
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Subject: Re: [h-cost] The Victorian corset debate
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Status: RO

Bice wrote:
> 
> Edwardian women were *not* svelte. In fact it was the curvier the better.
> Most of my corsets are s-curve Edwardian's or V-shaped post CW.

is the S-curve another name for the flat front Edwardian corset with the
exagerated backward sway?   Now that one I could see throwing a person
off balance.   LOL  Kitty

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Date: Mon, 24 May 2004 22:25:38 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Yet another bodice question
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Status: RO

Hello Sheridan,

I too loved that dress and portrait, and it was the basis for my first 
"nobles" dress I made. That was several years ago, and I still wear my 
dress at court. Totally different color and trim however.

My first recommendation is to get the book
Period Costume for Stage & Screen: Patterns for Women's Dress 1500-1800
by Jean Hunnisett, Janette Haslam (Illustrator)

Seeing at Amazon the amazing price for a used copy, try to ILL it if 
possible. There Jean has the pattern for the dress and notes on it, 
including how to make it up. She has it hook and eye down the front, or it 
can be laced up the back. It also has the front boned, but I also wear a 
full corset underneath as I am rather ample. But my bodice does stand away 
from my upper area as well, but I cut it a bit too high to be proper.

I think the page itself explains the bit under the bodice being seen as 
part of the partlet worn over the chemise and corset, and under the bodice. 
Whether the sleeves are attached separately or are a part of the partlet is 
unclear. I would suggest doing whatever is best for your weather situation 
and whatever material you use as the base of the sleeves.

I also have seen a replica of this dress made and worn by a lady in a S. CA 
group called St. Augustine's. Jennifer Fleury is her name. I have not seen 
her this year, so I am not sure how to contact her. Hello Jennifer, you 
still here???

Well, I found a photo of her in the dress she wears.
http://guildofstaugustine.org/lady%20warwick%20fcc%2002.jpg

Anyway, hope that helps.

Kimiko
PS I love your sig line. Consider me mentally ill as well on costumes.

Kimiko Small
Owner & Creator of DreamTime Studios
http://www.dreamtime-studios.com

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From: "Bice" <wantstobecorsetted1@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <4.1.20040523204221.020e1b70@mail.frys.com><BAY1-DAV66mLuOZCd6q0001bf9e@hotmail.com><40B2B55D.2000205@in-tch.com>
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Subject: Re: [h-cost] The Victorian corset debate
Date: Tue, 25 May 2004 01:29:11 -0400
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Well that's my corset of preference. And it really doesn't throw anyone off
balance. It does have a decided sway backed look but it isn't a physical
thing it's simply a "look" It seems to have given ride to the later
"debutante's slouch"
=============================
http://kristalori.com or http://swapking.com/hats/
http://www.livejournal.com/users/jaie
=============================
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 12:53 AM
Subject: Re: [h-cost] The Victorian corset debate


> Bice wrote:
> >
> > Edwardian women were *not* svelte. In fact it was the curvier the
better.
> > Most of my corsets are s-curve Edwardian's or V-shaped post CW.
>
> is the S-curve another name for the flat front Edwardian corset with the
> exagerated backward sway?   Now that one I could see throwing a person
> off balance.   LOL  Kitty
>
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Subject: [h-cost] Seed Pearls
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Greetings one and all,
  
  Can anyone tell me where a good source for seed pearls would be?
I need them for my beaded embroidery and for garb.
  Thanks for any assistance.

Roscelin

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Subject: [h-cost] Colour in the late 1800's
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Snooping about the internet, looking for something else entirely, I stumbled
across this site:

 http://www.rickrack.com/antqfab.html

Here is a very solid argument against the old saw that in the 'old days'
people only had drab colors to choose from...

Sheridan



-------------------------------------------------
consciousness: that annoying time between naps.



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Date: Tue, 25 May 2004 00:34:56 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Colour in the late 1800's
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>Snooping about the internet, looking for something else entirely, I stumbled
>across this site:
>
> http://www.rickrack.com/antqfab.html
>
>Here is a very solid argument against the old saw that in the 'old days'
>people only had drab colors to choose from...

Thank you so much for this.  I am forwarding it to the Ranger in charge of
the living history program I had so much trouble with - the one who told me
that bright colors were very expensive and therefore uncommon.  In
addition, I am reminding her that the fabrics on the site are only cotton,
and in an 1880s silk crazy quilt the same colors would be even brighter.

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

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Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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----- Original Message -----
From: "Lisa A Ashton" <lisa58@juno.com>
To: <h-costume@indra.com>
Sent: Monday, May 24, 2004 2:08 PM
Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives


<snip> This is one of my favorite time periods, having just completed a
> historical reproduction of the dress that Mary Tudor is wearing in her
> famous wedding portrait with Charles Brandon.  I believe that there will
> at some point be photos up on the Costume-Connections website for CC22 in
> Atlanta this past April, the Historical MAsquerade.
>
> Yours in costuming, Lisa A.

Whew! with all those Pearls on the sleeves? I'm impressed! It wouldn't be my
choice as that's one of the reasons I chose the earlier half of the 16th
century, because unlike the Elizabethans they were rather more modest in
their decoration letting the pretty fabrics speak for themselves, rather
than overwhelming them with pearls & jewels (and sewing on those jewels is
too much work for my taste). but I'm always happy to see others do these
things.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
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Subject: Re: [h-cost] Re: Weight of underwear
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----- Original Message -----
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 24, 2004 1:43 AM
Subject: Re: [h-cost] Re: Weight of underwear


<snip> > and something else is really bugging me.   someone stated that just
> > because the bones were deformed and the organs misplaced didn't mean
> > that the person was in pain or unhealthy.   that is like saying that
> > the Chinese women whose feet were wrapped from babyhood to maintain
> > the tiny foot were not unhealthy just because they couldn't walk, or
> > just because they didn't suffer pain as long as they remained in one
> > place.
>
> You have just used an *extreme* example. Women who had their feet
> bound *usually* had major foot problems, even if they just sat still.
> But it was something that the lower classes didn't do. Wearing
> corsets isn't like that. Since you can do anything in a corset that
> you can do out of one and since it was something that the lower class
> women did too, it's not the same kind of thing at all.
<snip> Kat
> <kat@redtrollforge.com>

I have to agree here, I think a better analogy for body changes during
corsetry would be dental braces, they gradually modify the shape of your
bones over time through constant pressure. Like corsets they can cause pain
when they are tightened further than your body has become accustomed to, and
can inhibit your use of the area involved (several friends got by on just
liquids for 24 hours after their braces were tightened because chewing was
too painful) but soon your body takes this new level of pressure as normal
and begins to adapt. Chinese footbinding involves sudden reshaping of bones
by snapping the bones
in the foot folding the toes under and binding the foot in that position
(although this was the extreme and many other methods worked to gradually
move the toes under and towards the heel through progressively tighter
bindings and shoes). The process of footbinding also commonly resulted in
things like inflammation and ulceration, damaged nerves were less common and
an occasional case of gangrene or paralysis were not unheard of, I haven't
heard accounts of these sorts of complications even for the most extreme
tightlacers. The female body is designed to have internal organs moved about
for the sake of pregnancy (many women's floating ribs will also move during
pregnancy) and therefore adapts to corsetry relatively easily, feet are not
designed to change shape at all, especially not to the extent of footbinding
they are also not designed to take any weight (especially not your whole
weight) on the top bony part.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Troy - I have an idea.
Date: Tue, 25 May 2004 22:26:41 +1000
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You know, if you are watching a movie, TV show or play and counting
stitches, glaring at fabrics or grimmacing at cuts, you are missing the
point.

The object of an historical costume design is to evoke the feel of the age
and the emotion of the characters, not to present a text book for other
costumers.

How many people on this list have thrown up at the thought of the costuming
of Gone with the Wind, Master & Commander, Sinbad the Sailor or a thousand
other movies? They are all crap from an historically correct point of view
but when was that ever the point?

A dialogue about what was "correct" in Troy is a great idea but don't brush
aside the rest of it without acknowledging why those "faults" were there,

-C.

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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: RE: [h-cost] Troy - I have an idea.
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Hey there... excellent points,  however there are also a few things to the 
contrary to consider.

I watch a movie to be entertained - not to count stitches  ; >   but 
because I am an educated viewer in respect to costume and clothing, and 
some cultural points  when the movie "misses the mark"  it is jarring - and 
sometimes jarring enough to distract me from the story of the movie.   That 
really is an irritant,  and spoils the experience.  Not entirely, but the 
atmosphere that the movie is trying to create is popped like a balloon.  So 
I do enjoy it when researchers, costumers, set designers and directors put 
in the effort to create authenticity as well as atmosphere.   Those are the 
movies I will go back to view again.

Bridgette


>You know, if you are watching a movie, TV show or play and counting
>stitches, glaring at fabrics or grimmacing at cuts, you are missing the
>point.
>
>The object of an historical costume design is to evoke the feel of the age
>and the emotion of the characters, not to present a text book for other
>costumers.
><snip>

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Subject: Re: [h-cost] Seed Pearls
Date: Tue, 25 May 2004 09:03:09 -0400
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Fire Mountain Gems should be able to provide you with almost any size.  The
present size of seed pearls available seems to start at #2; from time to
time, they carry really tinyones.
Kathleen
----- Original Message ----- 
From: "roscelin" <roscelin@pcez.com>
To: <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 2:38 AM
Subject: [h-cost] Seed Pearls


> Greetings one and all,
>
>   Can anyone tell me where a good source for seed pearls would be?
> I need them for my beaded embroidery and for garb.
>   Thanks for any assistance.
>
> Roscelin
>
> -------------------
> http://www.pcez.com
> _______________________________________________
> h-costume mailing list
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Subject: RE: [h-cost] Troy - I have an idea.
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>>> stilskin@netspace.net.au 5/25/04 1:26:41 PM >>> wrote:

>You know, if you are watching a movie, TV show or play and counting
>stitches, glaring at fabrics or grimmacing at cuts, you are missing
the
>point.

I agree; unless something is obviously wrong, I'm usually too busy
following the story to notice.

>How many people on this list have thrown up at the thought of the 
>costuming of Gone with the Wind, Master & Commander, Sinbad the 
>Sailor or a thousand other movies? They are all crap from an
historically >correct point of view but when was that ever the point?

What's your objection to "Master and Commander"? It won a BAFTA award
for costumes, and they are supposed to have gone to immense trouble to
get the right fabrics etc. My only quibble is that while the ship was
being repaired the officers would have been wearing old clothes instead
of uniform, but I suppose that was done to make it obvious who was who.

Kate Bunting
Library, University of Derby
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Subject: Re: [h-cost] Troy - I have an idea.
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In a message dated 5/25/2004 8:25:58 AM Eastern Standard Time, 
stilskin@netspace.net.au writes:

> They are all crap from an historically correct point of view
> but when was that ever the point?
> 

Uh....no they are not. Many films may not be super accurate, but they have 
respect for the period. Even GWTW. 

For me it's the designs and how they relate to character and the total art 
direction. That's why something like "Excalibur" has IMHO great costumes even 
thought the armor is fantasy as well as the gowns....but they fit in with the 
concept and look great......but something like "Bram Stoker's Dracula" sux even 
though the costumes are indeed beautiful but are a mess concept-wise and show 
little respect or understanding of the correct period.

Of course this is what you are saying, but the films you state do not have 
crappy costumes.
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Christopher Ballis wrote:

> You know, if you are watching a movie, TV show or play and counting
> stitches, glaring at fabrics or grimmacing at cuts, you are missing the
> point.

The point is different for everyone who watches it.  Some folks probably 
watch costume dramas for the cleavage.

At any rate, we've discussed the issue of theatrics vs. accuracy pretty 
much every time a historical movie comes out.  Which has been regularly 
in the past year, so I'd be surprised if there's much new ground to be 
covered in that philosophical debate.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Subject: [h-cost] Lion in Winter DVD
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Checked with the DH who works for a wholesale video warehouse; the
Stewart/Close version of Lion in Winter will be released on DVD on July
20th.  He very thoughtfully brought me home a screener (advanced copy
with a lot of ads and very few of the extras) but have I had a chance to
watch it yet?  Nooooooo.  

And then last night's episode of Colonial House got interrupted by a
trip to the basement because of tornado sirens.  Fortunately we didn't
loose power and the vcr kept right on taping :).

Catherine
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----- Original Message -----
From: "Catherine Kinsey" <ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 9:32 AM
Subject: [h-cost] Lion in Winter DVD


> Checked with the DH who works for a wholesale video warehouse; the
> Stewart/Close version of Lion in Winter will be released on DVD on July
> 20th.  He very thoughtfully brought me home a screener (advanced copy
> with a lot of ads and very few of the extras) but have I had a chance to
> watch it yet?  Nooooooo.
>
> And then last night's episode of Colonial House got interrupted by a
> trip to the basement because of tornado sirens.  Fortunately we didn't
> loose power and the vcr kept right on taping :).
>
> Catherine


Tornado? Wow, isn't this early in the year for that kind of nasty weather?
Where do you live?

Sheridan


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Subject: Re: [h-cost] Crinoline, was Questions grow the more I read
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I'm surprised none of the list's Victorian enthusiasts has jumped in on
this one. It's not my period at all, but a Google search on "Crinoline"
brings up some likely-looking sites.

>>> basyefelton@floodcity.net 5/24/04 1:13:15 PM >>>
Ok, thanks, that helps a bit.  it wasn't just starched then, it had
something sewn in.  was it ALL horsehair or did it have bands like the
hoops?   or was it just one row at the bottom?



Kate Bunting
Library, University of Derby
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 I watched the two hours last night and it is inevitable that if you take a
group of hand-picked applicants out of 10,000 or so wanna-bes(pick 'em
deliberately for the proper 21st c. PC ness, plus how little they know of
the time, plus their reasons for their wanting to do it, and add in they
have to be reasonably photogenic w/o makeup for the camera and edit for a
less than 8 hrs total to get the most dramatic impact)and you are not going
to get real time-time travellers, you are going to get Colonial or whatever
House Survivor.

Anyhow, it is great fun for us watching that are not as clueless as the
participants which is why we won't ever get picked.

If anything, it is a graphic display of why Puritans and others had to make
such laws to keep everyone in line because it was their survival at stake.

Cindy Abel

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Subject: Re: [h-cost] Colour in the late 1800's
Date: Tue, 25 May 2004 10:54:58 -0400
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I wrote:

> >Snooping about the internet, looking for something else entirely, I
stumbled
> >across this site:
> >
> > http://www.rickrack.com/antqfab.html
> >
> >Here is a very solid argument against the old saw that in the 'old days'
> >people only had drab colors to choose from...
>

CarolynKayta Barrows wrote:
> Thank you so much for this.  I am forwarding it to the Ranger in charge of
> the living history program I had so much trouble with - the one who told
me
> that bright colors were very expensive and therefore uncommon.  In
> addition, I am reminding her that the fabrics on the site are only cotton,
> and in an 1880s silk crazy quilt the same colors would be even brighter.
>

You're welcome!

Take a look at the Grain bag/Flour sack section on this website, I was soooo
excited to see patterns that I remember both of my Grandmothers having
around the house while I was growing up, especially the border print bags.
My Mom or my Aunt had a skirt made from one of these, we had pillowcases and
tea towels too. :-)

Sheridan


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Subject: Re: [h-cost] Seed Pearls
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Greetings, Roselin!

What Kathleen said. :-) You can order a copy of their catalog
on-line--they also have an on-line catalog, but it's not as much fun, or
as safe to drool on as the paper one. I think the addy is
www.firemountaingems.com, but if that doesn't work, try a Google search
under Fire Mountain Gems. My catalog got here in 4 days. I understand
from other local customers that they ship promptly, have good prices, and
give terrific service.

What gorgeous thing are you up to now?

Arlys

On Tue, 25 May 2004 09:03:09 -0400 "Lloyd Mitchell"
<rmitchell@washjeff.edu> writes:
> Fire Mountain Gems should be able to provide you with almost any 
> size.  The
> present size of seed pearls available seems to start at #2; from 
> time to
> time, they carry really tinyones.
> Kathleen
> ----- Original Message ----- 
> From: "roscelin" <roscelin@pcez.com>
> To: <h-costume@indra.com>
> Sent: Tuesday, May 25, 2004 2:38 AM
> Subject: [h-cost] Seed Pearls
> 
> 
> > Greetings one and all,
> >
> >   Can anyone tell me where a good source for seed pearls would be?
> > I need them for my beaded embroidery and for garb.
> >   Thanks for any assistance.
> >
> > Roscelin
> >
> > -------------------
> > http://www.pcez.com
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
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Subject: [h-cost] A history of the clog
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This article gives not citations/references, but I thought it was interesting enough to share with the list.

is mise le meas,
Pandora Fitzpatrick
Everett, WA

> Date: 2004/05/24 Mon PM 07:09:21 PDT
> To: Slighe <slighe@yahoogroups.com>
> Subject: [slighe] A history of the clog
> 
portion of an article on clogs

Inverness Courier, Oct. 17, 1911, p. 3d.
  "The modern clog owes its existence to the Flemish weavers, who were induced to come to Lancashire by Edward III, acting on the advice of his wife, Philippa, who was alive to the importance of developing the cotton and woollen trades in this country. One of the baits held out to the Flemish was that they would have the opportunity of mating with the Lancashire Witches, who were renowned for their beauty.  Such towns as Manchester, Bolton, and Rochdale were soon occupied by the Flemish weavers. Their sabots were made of wood, and lined with lambskin in order to protect the top of the foot. These wooden clogs were considered clumsy and uncomfortable by the native weavers, who sought to improve them. The wooden sole was maintained, and its durability increased by a thin rim of iron. The tops were made of leather, which, owing to its plastic nature, is far more comfortable than wood. But the clog is not a stereotyped article of attire. It can boast various shapes and patterns,!
  and offers as much variety as any other form of footwear. The ordinary workaday clog is an unassuming article, but there are other patterns which challenge attention. The clogs with the brass toe caps and clips shed a glow down the street when caught by the sun. Then there is the 'dressy' clog beloved of the sporting collier. The leather work boasts a fanciful design, the overflowing tag is like-wise ornamented and the leather thong is tied in a neglige' manner, which completes the sporting effect. The vanity of the female portion of the community is catered for by slender and shapely clogs, devoid of any suggestion of crudity and ugliness which often attaches to this type of footwear.
  In order to wear clogs with comfort one must pass through a novitiate. When first adopted they have an unpleasant tendency to chafe severely the toes and heels. But this drawback is soon overcome, and one is constrained to admit that clogs are excellent in many respects. They are very economical, for their durability is remarkable, and they are no trouble to keep clean. In fact they are always polished in a manner that would warm the heart of the most pessimistic boot-polish vendor. They are not the slightest trouble to put on or take off, and this is an important consideration when very early rising is one of the first rules of life. In wet weather clogs are more serviceable than boots for keeping out the damp. On the other hand in snow or frosty weather, though comfortably warm, they are very apt to run away with one. But even this disadvantage, is turned to good account, for clogs may be made to serve as skates. The wearer simply bends his ankles like the ordinary skate!
 r, thus presenting to the ice only the iron rims, which are smooth and highly polished by constant friction."



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>From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>
>I haven't seen the movie yet but have seen trailers and posters and I'm 
>glad to see your >observations suggest that I am probably going in the 
>right direction with my thoughts on the
>matter. I took a class on art and the Trojan war (we read the Illiad during 
>of course) and I was >pleased that the movie includes both main types of 
>shields displayed in Greek art about the Trojan >war.  I was curious for 
>those who have seen it, did they use any of the Greek costuming 
> >conventions such as leggings or trousers on the Trojans to show their 
>foreigness?

I don;t recall seeing trousers on the Trojans, but honestly I was looking at 
other thing... :)

>Oh, Marc, on the subject of footwear - were you aware of thesis (Can't 
>remember the woman's >name) which was done using the stylistic analysis of 
>Greek footwear in sculpture?...

That would be:  Dohan, K. E." Hypodemata, the Study of Greek Footwear and 
Its Chronological Value." PhD, Bryn Mawr College1982.

I hadn;trealized it was that influential - it's an excellent read btw.   I 
don't know enough about the subject to be harshly critical of her 
conclusions, but for the most part it all holds together well,

Righ tnow I'm trying to work my way though  Reid, Patricia. Embodied 
identity as Process: Performativity through Footwear in Mid-Medieval (AD 
800-1200) Norhtern Europe.. U of London, 2000.  Also very good, if a little 
heavy on the Academese.

Marc

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In a message dated 5/25/2004 9:47:23 AM Eastern Standard Time, 
shaneandsheridan@sympatico.ca writes:

> Tornado? Wow, isn't this early in the year for that kind of nasty weather?
> Where do you live?
> 

Don't you watch the news? [Well, actually I can understand if you don't]

The weather has been hammering the central states. And spring is tornado 
season. Actually it's tornado season all year.

I just hope no one was [is, will be] killed!

Albert "I live in NC and we have them here too" Cat
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From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
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Subject: Re: [h-cost] Lion in Winter DVD
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> In a message dated 5/25/2004 9:47:23 AM Eastern Standard Time,
> shaneandsheridan@sympatico.ca writes:
>
> > Tornado? Wow, isn't this early in the year for that kind of nasty
weather?
> > Where do you live?
> >
>
> Don't you watch the news? [Well, actually I can understand if you don't]
>
> The weather has been hammering the central states. And spring is tornado
> season. Actually it's tornado season all year.
>
> I just hope no one was [is, will be] killed!
>
> Albert "I live in NC and we have them here too" Cat


Gotcha!

No haven't been catching the news at all lately. :-p

I grew up in the Canadian prairies, tornado season for us was/is usually
July/August, which is the hottest time of year there. I occasionally forget
its actually warmer much earler most other places. (especially this year)
:-)

Take care and keep your radio/tv on.

Sheridan




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From: Dawn Jacobson <dme_maud@pacbell.net>
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Sheridan wrote:
 
> Snooping about the internet, looking for something
> else entirely, I stumbled
> across this site:
> 
>  http://www.rickrack.com/antqfab.html
> 
> Here is a very solid argument against the old saw
> that in the 'old days'
> people only had drab colors to choose from...

Oh, now this is interesting...I recognize some of
those "vintage" cottons from fat quarters I've
purchased for my mother (she's a quilter) at Hancock's
JoAnn's and Stone Mtn. and Daughter. In fact, I
believe I used one of the prints (FB753) for a dress
for one of my niece's American Girl dolls, and I got
the fabric at my local Hancock's for about $2.99/yd. 

There is a vogue among quilters right now to
incorporate vintage-style quilting cottons into
quilt-top designs, and this vendor may be capitalizing
on that.

There is a very good book on printed cottons that has
clear photographs of provenanced fabrics;
unfortunately, it's at home and I'm at work, but I'll
post the pertinent data later this afternoon/evening
when I get back there.

Dawn



=====
Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Sorry for taking up bandwidth, just checking to see if my posts are making it to the list...

Heidi

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-----Original Message-----
If anything, it is a graphic display of why Puritans and others had to make
such laws to keep everyone in line because it was their survival at stake.

Cindy Abel
___________________
>From my understanding, many of the laws were not made for survival's sake.
Many were made for religion's sake. At least in the Puritan colonial towns.

De

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

>From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>

>those who have seen it, did they use any of the Greek costuming
> >conventions such as leggings or trousers on the Trojans to show their
>foreigness?

Greek had the trousers? I only remember the Roman horsemen in later period
and Phrygians having the trousers that early. Guess I need to go back to the
books.

De

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Subject: [h-cost] RE: A history of the clog
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>From: <pandoraf@verizon.net>
>Subject: [h-cost] A history of the clog
> > To: Slighe <slighe@yahoogroups.com>
> > Subject: [slighe] A history of the clog
>portion of an article on clogs
>Inverness Courier, Oct. 17, 1911, p. 3d.
>   "The modern clog owes its existence to the Flemish weavers...

I am speechless...

Marc

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Subject: [h-cost] Antique fabrics
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Dawn--

I recognize that fabric, too, and others on the web site. It doesn't
mean she isn't selling old fabrics, though, since lots of companies
print reproductions just for quilters.

Why anyone would want the old fabric when you can get newer AND cheaper,
I don't know...
> 

Kim
>  http://www.rickrack.com/antqfab.html
Oh, now this is interesting...I recognize some of
those "vintage" cottons from fat quarters I've
purchased for my mother (she's a quilter) at Hancock's
JoAnn's and Stone Mtn. and Daughter. In fact, I
believe I used one of the prints (FB753) for a dress
for one of my niece's American Girl dolls, and I got
the fabric at my local Hancock's for about $2.99/yd. 


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Hi,
Just wanted to ask some of you renaissance reenactors. When you have a
seperate skirt and bodice and your skirt is going to have a curved waistline
(lower in the front and back than the hips) do you sometimes make shaped
waistbands?
Bjarne who is considering doing that to the danish court dress.






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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In a message dated 5/25/2004 1:19:00 PM Eastern Standard Time, 
otsisto@socket.net writes:

> Greek had the trousers? 

I once had a history teacher tell us the women in ancient Greece wore pants.

This confused me and I did a little research. [This was decades ago so don't 
ask me where this came from] Apparently, the Persians wore pants and the 
Greeks, who looked down on everyone, thought the Persians as effeminate and sissies 
[don't ask me why]. It seems that Bacchus is sometimes depicted in Persian 
pants....being the party animal Bacchus was and apparently "light on his feet". 
So Pants were effeminate. So my teacher deduced that the women in Greece wore 
pants....uh...I guess.


Save us all from school!
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The Puritans(and most other religious belief systems)probably saw
religion/societal survival as one and the same as there was no separation of
"church" and state.

Laws on proper dress were those that the Puritains brought from England and
certainly really weren't much different than England's. Seeing "Colonial
House" really brings it home while such laws were necessary--silks, satins,
lace and velvet weren't practical wear even for the Sabbath if you really
couldn't afford them anyway.

And note where Colonial House got it pretty right--the only person in then
expensive black is the new "CEO"--although why he wasn't furnished an
"everyday" suit is beyond me.

Cindy Abel
>From my understanding, many of the laws were not made for survival's sake.
Many were made for religion's sake. At least in the Puritan colonial towns.

De

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Subject: [h-cost] Tornados
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I just hope no one was [is, will be] killed!

Albert "I live in NC and we have them here too" Cat
>>>>>>>>>>>>>>>>>>>>>>>>>>>

I am on the Kansas side of the greater Kansas City area.  We were lucky
with this storm, although I believe there was a fatality along this same
front in Illinois.  May-July tends to be our worst tornado weather and
about 3 weeks ago was the 1 year anniversary of an F4 in this area. 
Worst problems this year have been the flash flooding from all the rain.
 And despite the Wizard of Oz, Oklahoma has had it a lot worse than we
have the last several years.

Obligatory costume content; we tend to take shelter in my sewing room
in the basement as it has a tv for watching the weather reports, we can
shut the cats in with us (and since they don't normally get to go into
the sewing room they are usually distracted enough to entertain
themselves through the watch) and the door to the *real* storm shelter
(stone room under the stone front porch) is in the sewing room so if we
get a serious report of a twister coming our way we can duck in there. 
I also figure flying fabric debris is better than some other types of
debris :).

Catherine
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Subject: [h-cost] Troy Movie- Greek trousers
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Actually, the ancient Greeks did quite a bit of
trading with the coastal Celt-Iberians as did the
Phoenicians. There are some examples of pottery
showing men in skin tight trousers marked with stripes
or checks.So I don't think Greeks wore trousers, but
they knew people who did. But I haven't seen the movie
yet, so I couldn't say if anyone had trousers in the
movie. 

Catalina

 --- AlbertCat@aol.com wrote: > In a message dated
5/25/2004 1:19:00 PM Eastern
> Standard Time, 
> otsisto@socket.net writes:
> 
> > Greek had the trousers? 
> 


=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: RE: [h-cost] RE: Troy - I have an idea
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I think Danielle is implying that the Greeks portrayed the *Trojans* as
wearing trousers. 

>>> otsisto@socket.net 5/25/04 6:12:45 PM >>>


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

>From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>

>those who have seen it, did they use any of the Greek costuming
> >conventions such as leggings or trousers on the Trojans to show
their
>foreigness?

Greek had the trousers? I only remember the Roman horsemen in later
period
and Phrygians having the trousers that early. Guess I need to go back
to the
books.

De

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I know some people like to keep files books of old fabrics for dating
and "provenance" purposes.   I can't imagine it would be worth while
sewing with old fabrics, since even a 20 year old cotton is to old to
wear well, but maybe it is for collecting.   Kitty

kim baird wrote:
> 
> Dawn--
> 
> I recognize that fabric, too, and others on the web site. It doesn't
> mean she isn't selling old fabrics, though, since lots of companies
> print reproductions just for quilters.
> 
> Why anyone would want the old fabric when you can get newer AND cheaper,
> I don't know...
> >
> 
> Kim
> >  http://www.rickrack.com/antqfab.html
> Oh, now this is interesting...I recognize some of
> those "vintage" cottons from fat quarters I've
> purchased for my mother (she's a quilter) at Hancock's
> JoAnn's and Stone Mtn. and Daughter. In fact, I
> believe I used one of the prints (FB753) for a dress
> for one of my niece's American Girl dolls, and I got
> the fabric at my local Hancock's for about $2.99/yd.
> 
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> I know some people like to keep files books of old fabrics for dating
> and "provenance" purposes.   I can't imagine it would be worth while
> sewing with old fabrics, since even a 20 year old cotton is to old to
> wear well, but maybe it is for collecting.   Kitty
> 
>>
>>Why anyone would want the old fabric when you can get newer AND cheaper,
>>I don't know...


If you are doing restoration then original fabrics are highly desireable 
for repairs. I once knew a quilter who made quite a bit of money 
repairing and restoring antique quilts, she was always looking for any 
kind of old scraps that she would be able to use. The new fabric may 
look the same but it may have a different chemical content in the dye or 
  the fiber treatment which causes it to handle differently and age 
differently than the older fabrics.



Dawn


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Catherine Kinsey wrote:


> 
> And then last night's episode of Colonial House got interrupted by a
> trip to the basement because of tornado sirens.  Fortunately we didn't
> loose power and the vcr kept right on taping :).

Lucky you. On my side of town I spent a lot of time listening to "due to 
severe weather we are experiencing technical difficulties, please stand 
by", or having the volume drowned out by sirens which are pretty close 
to us.

According to the radar I was tracking there were two storm cells with 
rotation that passed directly over our house. Whee. As far as I know 
they never developed into tornadoes.

Colonial House: was anyone else glad to get a better look at all the 
doublets now that the cast has dressed up for the Company Man?

Anyone want to comment on the "indian" costumes?



Dawn



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Date: Tue, 25 May 2004 13:09:15 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Antique fabrics
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>I recognize that fabric, too, and others on the web site. It doesn't
>mean she isn't selling old fabrics, though, since lots of companies
>print reproductions just for quilters.
>
>Why anyone would want the old fabric when you can get newer AND cheaper,
>I don't know...

It's the same reason doll makers rip up antique garments (curse, swear) to
clothe their dolls - lack of imagination and lack of resources.

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

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Subject: Re: [h-cost] Antique fabrics
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>
>> I know some people like to keep files books of old fabrics for dating
>> and "provenance" purposes.   I can't imagine it would be worth while
>> sewing with old fabrics, since even a 20 year old cotton is to old to
>> wear well, but maybe it is for collecting.   Kitty
>>
>
> If you are doing restoration then original fabrics are highly desireable
>  for repairs. I once knew a quilter who made quite a bit of money
> repairing and restoring antique quilts, she was always looking for any
> kind of old scraps that she would be able to use. The new fabric may
> look the same but it may have a different chemical content in the dye or
>
>   the fiber treatment which causes it to handle differently and age
> differently than the older fabrics.
>
>
> Dawn

Ooops, I knew that.   sorry.   and don't forget the Biblical maxim, don't
put new patches on old fabric for it will make the hole bigger.    Use old
patches on old fabric.   so how do I go about finding old fabric to match
a Sunbonnet sue quilt that was made for my hubby before he was born, (get
it?  the friend who made it was certain he would be a girl)

LOL  Kitty


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>>I recognize that fabric, too, and others on the web site. It doesn't
>> mean she isn't selling old fabrics, though, since lots of companies
>> print reproductions just for quilters.
>>
>>Why anyone would want the old fabric when you can get newer AND
>> cheaper, I don't know...
>
> It's the same reason doll makers rip up antique garments (curse, swear)
> to clothe their dolls - lack of imagination and lack of resources.
>
>

Well, lets be fair and admit that sometimes a person in need of income can
get a better return on the doll clothed in antique fabric than on the
antique garment as a whole.  which is a sad but true fact of life.   Kitty


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Sorry for taking up bandwidth, just checking to see if my posts are making it to the list...

Heidi

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Date: Tue, 25 May 2004 14:09:19 -0700
To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Antique fabrics
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>>>Why anyone would want the old fabric when you can get newer AND
>>> cheaper, I don't know...
>>
>> It's the same reason doll makers rip up antique garments (curse, swear)
>> to clothe their dolls - lack of imagination and lack of resources.
>
>Well, lets be fair and admit that sometimes a person in need of income can
>get a better return on the doll clothed in antique fabric than on the
>antique garment as a whole.  which is a sad but true fact of life.   Kitty

I've was homeless and living out of my truck for a while, but I've never
been that poor or hungry. 

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

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Subject: [h-cost] OT weather  was: Lion in Winter DVD
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Yesterday a tornado touched down in Linn, MO which is north of me.
We got hit pretty hard last night through this morning into the afternoon
with thunderstorms. My back yard is lowest in the neighborhood so now I have
a bog working it's way towards a Florida style swamp. :P We're suppose to
get a break Wed. and it starts up again Thurs. to Sat.
Well as they say, we live in the state of misery, right next to the state of
ill noise. :)

De
-----Original Message-----
In a message dated 5/25/2004 9:47:23 AM Eastern Standard Time,
shaneandsheridan@sympatico.ca writes:

> Tornado? Wow, isn't this early in the year for that kind of nasty weather?
> Where do you live?
>

Don't you watch the news? [Well, actually I can understand if you don't]

The weather has been hammering the central states. And spring is tornado
season. Actually it's tornado season all year.

I just hope no one was [is, will be] killed!

Albert "I live in NC and we have them here too" Cat
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From: Dawn <dawn@reddawn.net>
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Subject: Re: [h-cost] Antique fabrics
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basyefelton@floodcity.net wrote:

  > Ooops, I knew that.   sorry.   and don't forget the Biblical maxim, 
don't
> put new patches on old fabric for it will make the hole bigger.    Use old
> patches on old fabric.   so how do I go about finding old fabric to match
> a Sunbonnet sue quilt that was made for my hubby before he was born, (get
> it?  the friend who made it was certain he would be a girl)
> 

Look in thrift shops, flea markets, and junk shops for incomplete quilt 
blocks. You will find them at quilt shows, and I would bet on Ebay. 
Those blocks never had a chance to be quilts, and their best use right 
now is in preserving the quilts that did get finished. You may not find 
the exact fabric, but you can make repairs with one that is similar in 
color.


Dawn



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Subject: [h-cost] Colonial House(Tornados and Hurricanes)
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 I am in Omaha NE, but it kind of irks me that about the only time this
state makes national news, it is when a tornado strikes or there is some
kind of multi-murder or child/wife abuse case. It does make people think all
we have are tornados to keep life exciting.

On Colonial House, because the participants were set down in Maine, I'm glad
they didn't experience hurricanes that can and do strike the East Coast.  I
do think that the people were shorted on wardrobe from what I've seen
onscreen--wouldn't there have been more shifts and shirts provided? Some of
the single and married men seem to have worn the same shirt throughout.
Yesterday evening's installments of CH also gave the impression that the new
governor and his wife certainly enjoyed their new status and the
governor/lay preacher did considerable standing about and pouting when the
company "CEO" kind of took over things. I wonder if this was more staged for
the cameras as I can't believe that the training at Plimouth Plantation
didn't include training in hunting down edible roots, nuts, and berries as
well as clam digging, fishing, and perhaps setting snares and traps for
smaller wildlife since firearms of the day were very inaccurate and
airbourne food sources weren't as abundant in 2003 as they were in 1628
where one could just aim at the sky when flocks of birds were in flight and
be almost sure to bring down something for dinner.

And where did the 20 yds(wasn't fabric measured in ells then)of good red
wool come from? Were the colonists supposed to use it for trade, did they
have it all along, or did it come with the second group of settlers or Jack,
the "CEO"?

I would have been too tempted to turn it into clothing or blankets.

Cindy Abel

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Subject: Re: [h-cost] Antique fabrics
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I usually use antique fabrics to restore antique clothes--replace 
waistbands etc.  I get a better match that way and less stress on the 
original fabric.  I have a fair amount of antique and vintage material 
from bags of scraps  the original owners never got around to using, most 
of which was bought at estate auctions.  Should I ever need more, this 
kind of thing turns up often on ebay. Thoug, I'd bid for a bag lot 
rather than individually listed little bits of stuff, also often seen on 
ebay.

I almost always use antique lace, lengths of embroidery, and embroidered 
fabric to trim reproduction garments.  You can get antique and vintage 
trims that just aren't available any more, or at least are very hard to 
find.  If you want something like handmade bobbin lace (and don't have 
time or skills to make it, and want something different from a very 
small selection imported from third-world countries) antique trimming is 
a great way to go.  You can also get lace collars and cuffs, shaped 
flounces for ballgown necklines, eyelet petticoat flounces, lingerie 
yokes, and things like shaped "tablier" trimmings (the last from the 
turn of the century).  You can buy hand-crocheted and tatted trimmings 
from the mid 20th century that look older. There is quite a lot of 
trimming available that has already been taken off old garments, either 
by original owners who planned to recycle it someday or by vintage 
dealers from otherwise unrestorable garments. Often lace survives much 
better than the silk it was sewn to.  When I used to buy estate auction 
box lots I took the good trim off all the garments with rotten fabric.  
Though I wouldn't buy a single garment just for the trim--it's usually 
more economical to just buy the trim.  There is even a surprising amount 
of never-used trim available.  I don't usually cut up garments, but I do 
cut up hand-embroidered tablecloths and other linens for clothes if the 
patterns are small enough for a human body and distributed in a usable 
way.  A lot of very nice ones were home-embroidered (or in some cases, 
imported) in the mid 20th century, but look great for Victorian and 
Edwardian clothes. 

Again, quite a lot of this stuff is sold on ebay. 

I sometimes baste on lace trim, and always fancy collars and cuffs. Then 
I can take them off for separate hand washing and put on different ones 
when I feel like it.  When I use vintage hand-embroidered fabric or 
machine sew lace to modern fabric, and the garment is washable, I hand 
wash the whole garment.

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



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The web site is:  www.carpatina.com  Hope this helps you.  They are 
located in Nashua, NH.

Jeanine

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Seed Pearls
Date: Tue, 25 May 2004 17:01:34 -0500
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Shipwreck beads
http://www.shipwreckbeads.com
look under "natural materials"
Have not dealt with these people so I can not say how good they are.

Fire Mountain Gems and beads
http://www.firemountaingems.com
or call 1(800)355-2137 for free catalog. Their pretty good at getting your
order to you.

Beads Forever, LLC
http://www.beadsforever.com/product_pages/pearl_fresh_water_00.htm
Wholesalers

http://www.modebeads.com/
http://www.nationalsupply.com
http://ballybead.com
Have not dealt with these people but I thought you might want to comparison
shop.

De
Who was ten when she started beading.

-----Original Message-----
Greetings one and all,

  Can anyone tell me where a good source for seed pearls would be?
I need them for my beaded embroidery and for garb.
  Thanks for any assistance.

Roscelin

-------------------
http://www.pcez.com
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-----Original Message-----
Catherine Kinsey wrote:


Anyone want to comment on the "indian" costumes?



Dawn


Okay, now I'm starting to wish I could get this. I would love to see their
rendition of native garments.
By the way if you are ever at a powwow, especially west of the Mississippi
the dance outfits are referred to as outfits, garments, clothing or garb,
never costumes.

De

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-----Original Message-----
> They are all crap from an historically correct point of view
> but when was that ever the point?
>

Uh....no they are not. Many films may not be super accurate, but they have
respect for the period. Even GWTW.

_______________________
The director of GWTW wanted as authentic as possible with the costumes. The
Violet dress is based on a fashion plate of the era as well as the fabric
print is from that time period. Though they did have to paint the violet
bunches on themselves since they couldn't get the actual printed fabric.

De

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Kitty wrote:


<<Ooops, I knew that. sorry. and don't forget the Biblical maxim, don't
put new patches on old fabric for it will make the hole bigger. Use old
patches on old fabric. so how do I go about finding old fabric to match
a Sunbonnet sue quilt that was made for my hubby before he was born, (get
it? the friend who made it was certain he would be a girl)>>

LOL. I have a quilt like that--it was made by my great-grandmother in 1930 for her first grandchild, in lovely shades of lavender,. Needless to say, my dad never used it. My mother has "Sunbonnet Sue" right now, as she just copied it for my niece, but in shades of pink (my niece's favorite color).

Contact your local quilt guild to find out the proper way to have repairs made to your quilt. Those ladies (and gentlemen) are a mountain of information, and love seeing quilts with a story.


Dawn



Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: [h-cost] Brat Construction
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   Anyone have information on brat construction from the early 16th
century? I am looking for references to materials, shape, size and
decoration.  The fellow (or lady) wearing it will be upper classed
gaelic speaking Scots. What I've seen so far points to rectangular,
fringed and multicolored wool.
   Also, any possibility they might have lined it on one side with
something else, perhaps contrasting in color? I have thought about
trying that, once I get the brat's dimensions right.
Joe


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Date: Tue, 25 May 2004 23:27:45  0000
From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>
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Thank you.  That is exactly what I was saying.  It was one of the symbols used to represent someone foreign to the Greeks, since they didn't wear them.  For example, Trojans or Persians, or even Amazons sometimes.

Cheers,
Danielle

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

DATE: Tue, 25 May 2004 19:27:06
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Cc: 

>I think Danielle is implying that the Greeks portrayed the *Trojans* as
>wearing trousers. 
>
>>>> otsisto@socket.net 5/25/04 6:12:45 PM >>>
>
>
>-----Original Message-----
>
>>From: "Danielle Nunn-Weinberg" <dannw@eudoramail.com>
>
>>those who have seen it, did they use any of the Greek costuming
>> >conventions such as leggings or trousers on the Trojans to show
>their
>>foreigness?
>
>Greek had the trousers? I only remember the Roman horsemen in later
>period
>and Phrygians having the trousers that early. Guess I need to go back
>to the
>books.
>
>De
>
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>______________________________________________________________________
>This email has been scanned by the MessageLabs Email Security System.
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>______________________________________________________________________
>
>Kate Bunting
>Library, University of Derby
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Need a new email address that people can remember
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Subject: Re: [h-cost] Antique fabrics
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>>>>Why anyone would want the old fabric when you can get newer AND
>>>> cheaper, I don't know...
>>>
>>> It's the same reason doll makers rip up antique garments (curse,
>>> swear) to clothe their dolls - lack of imagination and lack of
>>> resources.
>>
>>Well, lets be fair and admit that sometimes a person in need of income
>> can get a better return on the doll clothed in antique fabric than on
>> the antique garment as a whole.  which is a sad but true fact of life.
>>  Kitty
>
> I've was homeless and living out of my truck for a while, but I've never
> been that poor or hungry.
>


yes, isn't it sad that everyone doesn't have the same priorities as we do.
 LOL

I guess I'm just saying that it isn't possible to rescue everything, and
it isn't possible to judge what motivates another person.  One person
values the dolls and wants them to have clothes from their own era,
someone else values the old clothes themselves and doesn't want to see
them cut up.  and then there is my husband who would use an old item of
clothing as a grease rag while he repairs an antique engine and gets it
running like a top.

I wish I could do it all sometimes.   just off the top of my head, having
talked with people who take other old things and remake them.  some of
them will not cut up something in good repair, (old quilts come to mind)
but WOULD go ahead and cut up a nearly worn quilt with a large stain and
no provenance.   you might ask the person doing doll clothes what she
bases her choices on, you might find her more likeminded than you think.  
Kitty




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Subject: [h-cost] Brownists and Anabaptists and Adamites, oh my!
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Hi, All. I know, an Anabaptist playing a Brownist!  BTW, There are a 
number of historians that believe that the Mayflower wasn't "blown" off 
course, but deliberately sailed quite north of the area originally 
allowed for settlement (most of the Eastern Seaboard of the US still 
being called "Virginia" at the time) so that their charters and 
agreements (and subsequently, their governance, or the convenience 
thereof) were altered. This accounts for the need for the "Mayflower 
Compact", since, if they had remained in the area already designated for 
them, they would have remained under the control of the Crown. 
Obligatory clothing content: I was glad to see that the new fellow (the 
factor from the Company) was well dressed, his breeches and doublet 
didn't gap (he had points or hooks, perhaps?), and that he didn't bend 
to the culture of the group to appear slovenly (he even went clamming in 
his doublet and breeches) and still managed to remain basically cleanly. 
I notice that he was also ready to work, and when he did, he stripped to 
his shirt but still retained his band (it appeared attached to his 
shirt, perhaps not the best idea) and dressed properly afterward. Also, 
before leaving, the Governor appeared to have a very nice pair of 
knitted hose. At least from what I have seen, the quality of the 
clothing construction and patterns are correct. There is one issue, 
however. The men's breeches seem to have a gusset and tiestrings at the 
back center top seam. I know here in the US, the clothing merchants use 
those gussets to allow fit so that they don't have to make so many 
different size waists. You never (hardly) see this when someone is 
wearing a coat/doublet, but it isn't something that I have even seen on 
either an extant pair of breeches or a painting/engraving. Has anyone 
ever seen such a thing, or is it a modern reenactorism?  Cheers, Mike T.

Sue Clemenger wrote:

> Is anyone besides me getting a twisted giggle out of the idea of a 
> *Baptist* minister portraying a Puritan? Or is that too obscure a 
> historical bit? <g>
>


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Subject: Re: [h-cost] RE: Troy - I have an idea
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In a message dated 5/25/2004 7:28:49 PM Eastern Standard Time, 
dannw@eudoramail.com writes:

> Thank you.  That is exactly what I was saying.  It was one of the symbols 
> used to represent someone foreign to the Greeks, since they didn't wear them.  
> For example, Trojans or Persians, or even Amazons sometimes.
> 
> 

But having just come back from seeing "Troy"....no one wears trousers.

The costumes are lovely and full of fun details. 

The film is sorta OK. The actual Horse sequence....from it's discovery to the 
sacking.... is the best part. Brad is actually quite good though he doesn't 
look the part to me. Sean Bean as Odysseus was my favorite character. Maybe 
he'll do the sequel: "Troy II: the Odyssey".....because they killed everyone else 
off! Who needs Clytemnestra? Aeneas is in it for about 2 tenths of a second 
so maybe it will be "Troy II: Carthage".


And then there's the previews. "Arthur.....the truth behind the myth"

HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are wearing!
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Troy - I have an idea
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On Tuesday 25 May 2004 02:01 pm, AlbertCat@aol.com wrote:
> In a message dated 5/25/2004 1:19:00 PM Eastern Standard Time,
[snip]
> I once had a history teacher tell us the women in ancient Greece wore
> pants.
>
> This confused me and I did a little research. [This was decades ago so
> don't ask me where this came from] Apparently, the Persians wore pants and
> the Greeks, who looked down on everyone, thought the Persians as effeminate
> and sissies [don't ask me why]. It seems that Bacchus is sometimes depicted
> in Persian pants....being the party animal Bacchus was and apparently
> "light on his feet". So Pants were effeminate. So my teacher deduced that
> the women in Greece wore pants....uh...I guess.

Can't think of any place else she got the idea--I've never seen any ancient 
Greek art depicting women--or men, for that matter--in anything pant-like.

>

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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Subject: Re: [h-cost] Re: Troy - I have an idea.
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On Monday 24 May 2004 07:47 pm, Helen Pinto wrote:
> I was prepared to dislike it; I actually enjoyed it.  I saw it on a very
> big screen, and it was close enough to really see the weaving.  Those ikat
> bands on the edge of Priam's robe were incredible.  (Non-costume-related: 
> The individual combats were seriously cool.)

The fighting scenes *were* cool.  The casting was, in my judgment, excellent.  
Though I was a bit annoyed at the vast extent to which they costumed both 
Trojans and Greeks from the local Indian bazaar....

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Foaming at the mouth
Date: Tue, 25 May 2004 20:45:40 -0400
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On Saturday 22 May 2004 11:35 am, Tiffsewsstuff@aol.com wrote:
> In a message dated 5/22/04 10:05:47 AM Central Daylight Time,
> Lisa-list@thrednedlestrete.com writes:
[snip]

> One that annoys me is the idea that all women at the time were wasp waisted
> and petite Winona Ryder clones.  A study of any good collection of 19th
> century fashion will show a widely varied range of sizes, with many of them
> being for more buxom women.  Obviously the overall silhouette of their
> figures would (generally speaking) be different from ours simply through
> the training of their bodies to corsetry, but they were not all minute and
> wilting by any means.

Heck, a survey of 19th c. garments being sold on the Internet could tell a 
person that.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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Subject: [h-cost] A different view of Colonial house , NH Man goes Colonial:
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New Hampshire Public Radio just ran an interview of one of the 
particapants on "Colonial House" . It shows a very different and a 
behind the scenes  view of the program.   It can be heard at  New 
Hampshire Public Radio <http://www.nhpr.org/>  You seem to need to click 
on the current interview of  "The Front Porch"  then . 
<http://nhpr.org/view_content/6382/>NH Man goes Colonial: 
<http://www.nhpr.org/view_summary/1/>.  The interviews appear to say on 
the website for 2 weeks.  Good luck bringing it up.

Last January I heard from an archiologist who was called in in the 
making of the show.  He wasn't  indicating that the show would be great, 
but he said that when he went in at the end to evaluate how the group 
did, that he felt he had walked into the 17th century.  This was at the 
end of the annual talk on the dig the Historic society does on a 17th 
century site.

Dot
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Subject: [h-cost] Re:Garb question
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I have a more than vague memory that it's called a waffenrok (wafenrok,
waffennruck? I'm really not sure of the spelling) I remember a site that had
pictures of the DH in it, and yes it looks marvelously masculine and truly
wonderful. The earlier version did look vaguely like a sundress.

Bob Dorr (emerging, slightly, from lurking mode)

> Message: 5
> Date: Mon, 24 May 2004 16:18:46 -0500
> From: "otsisto" <otsisto@socket.net>
> Subject: [h-cost] FW: [standing_stones] Garb question
> To: "Historic Costume" <h-costume@net.indra.com>
> Message-ID: <IDEHICPIJOEBPADHEOGPMELECHAA.otsisto@socket.net>
> Content-Type: text/plain; charset="iso-8859-1"
>
> I know what he's talking about but don't know the name either.
> Also, I can not find the site I had on how to make one of these.
>
> De
> -----Original Message-----
> Hi all,
>
> I'm trying to put together a late pd. German look, but I don't know
> what the actual name for the garb I want is.  It is refered to as
> the "German man dress"  it's like a vest with a pleated skirt.  Does
> anyone know the actual name of this beast?  I know if you do one
> poorly it winds up looking like a sun dress.
>
> Thanks for your help
>
> Kylan


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Subject: [h-cost] King Arthur was: RE: Troy - I have an idea
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AlbertCat@aol.com wrote:
> And then there's the previews. "Arthur.....the truth behind the myth"
> 
> HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are wearing!

http://movies.yahoo.com/movies/feature/kingarthur.html


-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"The mind games, the isolation, the accusations about being unfaithful, 
the obsessive keeping track, preventing the other person from getting a 
job... We're in an abusive relationship with the Bush Administration!" 
--  Sparrow to Stuart, DTWOF
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Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 373
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I just saw the response to the Waffenrock question that had much more
detail. Sorry about that, I really need to read the whole digest before
posting.

Bob Dorr


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Troy - I have an idea.
Date: Tue, 25 May 2004 21:02:21 -0400
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On Monday 24 May 2004 10:05 pm, Danielle Nunn-Weinberg wrote:
[snip]
> I haven't seen the movie yet but have seen trailers and posters and I'm
> glad to see your observations suggest that I am probably going in the right
> direction with my thoughts on the matter. I took a class on art and the
> Trojan war (we read the Illiad during of course) and I was pleased that the
> movie includes both main types of shields displayed in Greek art about the
> Trojan war. 

The shields were good and the swords and helmet styles not bad.

> I was curious for those who have seen it, did they use any of
> the Greek costuming conventions such as leggings or trousers on the Trojans
> to show their foreigness?

They didn't use trousers (thanks by the way--I was not aware that the Greeks 
showed Trojans in trousers in their art, and I was in fact curious about what 
the Trojans really wore).  

What they *did* do was establish a kind of color code.  Most of the Trojans 
were shown in shades of indigo blue or white, and the ranking Greeks (when 
they weren't in armor) were shown in dark reddish colors.


-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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Subject: Re: [h-cost] King Arthur was: RE: Troy - I have an idea
Date: Tue, 25 May 2004 18:00:19 -0700
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Since when does Guenevere run around in bondage leather?

                   .
                 /'
                //
            .  //
            |\//7
           /' " \
          .   . .
          | (    \     '._
          |  '._  '    '. '
          /    \'-'_---. ) )
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         \ \( )     // /
          \ | |    // /
           L! !   // /   Joan Broneske
            [_]  L[_|    unicorn@surewest.net
"You always can tell who has the real power,
when you know who you cannot offend"
S.A.M.
----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1101084736.2a597d@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 5:52 PM
Subject: [h-cost] King Arthur was: RE: Troy - I have an idea


> AlbertCat@aol.com wrote:
> > And then there's the previews. "Arthur.....the truth behind the myth"
> >
> > HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are
wearing!
>
> http://movies.yahoo.com/movies/feature/kingarthur.html
>
>
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
>
> "The mind games, the isolation, the accusations about being unfaithful,
> the obsessive keeping track, preventing the other person from getting a
> job... We're in an abusive relationship with the Bush Administration!"
> --  Sparrow to Stuart, DTWOF
> _______________________________________________
> 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] King Arthur was: RE: Troy - I have an idea
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In a message dated 5/25/04 8:00:50 PM Central Daylight Time, 
unicorn@surewest.net writes:
Since when does Guenevere run around in bondage leather?


I guess I'm just a freak when it comes to judging the quality of costuming in 
"period" films LOL.  I am okay with films that have fantasy-based rather than 
reality-based costuming, as long as the costuming is *good*!  Since I haven't 
seen King Arthur yet, I don't know how I'll ultimately end up feeling about 
it.  But, for example, the costumes in "Mists of Avalon" ... very fantasy 
oriented, but they blended excellently with the movie itself, and they were just 
beautiful.  The stuff in Van Helsing was just - IMHO - ugly, and therefore had 
no excuse for being LOL.  It can be period accurate and not pretty to our 
modern eyes, or complete fantasy and beautiful, or period accurate AND beautiful 
... but not fake and ugly!

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
Date: Tue, 25 May 2004 21:09:19 -0400
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On Saturday 22 May 2004 01:28 am, Elizabeth Walpole wrote:
[snip]
> Well I just weighed my Elizabethan underwear (corset, smock and petticoat)
> and it weighs somewhere between 1 and 2 lbs. (bathroom scales aren't that
> accurate for small measures) I'd expect Victorian Underwear would be a
> similar weight, extra petticoats or a steel crinoline would maybe up to
> double that, but 11 lbs is way too much, that's heavier than all but a few
> new-born babies!


Perhaps they meant to say that 11 lbs was the weight of all the clothes a 
woman wore--not just the underwear?

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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On Sunday 23 May 2004 10:43 pm, kat@grendal.rain.com wrote:
> > Children's bones are soft. Children in Tae Kwon-Do classes are not
> > allowed to break boards with their hands due to developing bones.

Excuse me....but it's not correct that children studying tae kwon do are not 
permitted to break boards with their hands.

I studied tae kwan do for over 10 years (earned a black belt).  The 
grandmaster who ran our school loved to teach children, and boasted of having 
earned his first degree black belt by the time he was 7.

Anyway, at our school kids as young as 7 (there were a few who were younger, 
but I don't remember offhand whether I saw the younger ones break boards) did 
board breaks all the time.  Granted, they used smaller boards.  But they did 
hand breaks--in fact they were started out with hand breaks--and I never saw 
a child injured in the course of breaking a board.

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 378
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Also there's South Pacific Beads, in Vermont (naturally enough)
http://www.beading.com/Default.asp

There's a reason the owner calls me "PearlBoy"
look for the Rice Krispies (that's what he calls them, in the mail catalogs)
They're delightful, small, and a royal pain in the neck to get a needle
through, but they look simply lovely added to anything. Also the mishapen
large ones are perfect for doing rose shapes with pearls.

Bob Dorr--horrifyingly inspired to cover something... anything... in pearls,
tonight.

> Message: 3
> Date: Tue, 25 May 2004 17:01:34 -0500
> From: "otsisto" <otsisto@socket.net>
> Subject: RE: [h-cost] Seed Pearls
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID: <IDEHICPIJOEBPADHEOGPOEMJCHAA.otsisto@socket.net>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Shipwreck beads
> http://www.shipwreckbeads.com
> look under "natural materials"
> Have not dealt with these people so I can not say how good they are.
>
> Fire Mountain Gems and beads
> http://www.firemountaingems.com
> or call 1(800)355-2137 for free catalog. Their pretty good at getting your
> order to you.
>
> Beads Forever, LLC
> http://www.beadsforever.com/product_pages/pearl_fresh_water_00.htm
> Wholesalers
>
> http://www.modebeads.com/
> http://www.nationalsupply.com
> http://ballybead.com
> Have not dealt with these people but I thought you might want to
comparison
> shop.
>
> De
> Who was ten when she started beading.
>
> -----Original Message-----
> Greetings one and all,
>
>   Can anyone tell me where a good source for seed pearls would be?
> I need them for my beaded embroidery and for garb.
>   Thanks for any assistance.
>
> Roscelin


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On Monday 24 May 2004 04:28 pm, Kathy Hoover wrote:
> Julie,
> Do you remember the address of the site with the blouse with Carpatian
> embroidery?  I just Froogled it and came up empty.

If it's the site I'm thinking of, Julie got the name slightly wrong.  The site 
I'm thinking of called Carpatina and the URL is

http://www.carpatina.com/


-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] RE: Troy - I have an idea
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Greetings--

> The film is sorta OK.

I quite enjoyed it. I liked the fact that they didn't completely change all
the characters to suit Hollywood (despite them having to find a girlfriend
for Achilles and have him die at the wrong time).

> The actual Horse sequence....from it's discovery to the
> sacking.... is the best part. Brad is actually quite good though he
doesn't
> look the part to me.

Brad Pitt just annoys me, but he does do a good Achilles. He sulks in his
tent very well.

>Sean Bean as Odysseus was my favorite character.

Yep.  Liked Hector a lot, too. I got a kick out of the fact that Orlando
Bloom ends up using a skill we've seen him use in another epic movie to
great effect :-)

> And then there's the previews. "Arthur.....the truth behind the myth"
>
> HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are wearing!

You mean "King Arthur does Gladiator?"  Oh, and Guinevere as a blue-painted
warrior chick.  Still--at least it's not the same-old same-old...

Susan

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Greetings--

> The fighting scenes *were* cool.  The casting was, in my judgment,
excellent.
> Though I was a bit annoyed at the vast extent to which they costumed both
> Trojans and Greeks from the local Indian bazaar....

In fact, I own one of Helen's pairs of earrings...

Susan

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Subject: [h-cost] RE: Tornadoes  and Colonial House
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>From: "otsisto" <otsisto@socket.net>
>Catherine Kinsey wrote:
>>Anyone want to comment on the "indian" costumes?
>Okay, now I'm starting to wish I could get this. I would love to see their
>rendition of native garments.

It's not -their- rendition.  My impression has been that the  Passamaquoddy 
(the local tribe) seemed to have come up with their own clothes.  And I 
would be greatly surprised if the Wampanoag who came to visit took any 
advice on their traditional clothing :)

Marc

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Subject: RE: [h-cost] Brat Construction
Date: Tue, 25 May 2004 18:31:18 -0700
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Hi Joe,

your description is about as accurate as anyone knows on this, I think.

www.medievalscotland.org (Sharon Krossa) and www.reconstructinghistory.com
(Kass McGann) are the best resources I can think of.

is mise le meas,
Pandora Fitzpatrick
Everett, WA
www.slighe.com

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Joe Robertson
Sent: Tuesday, May 25, 2004 3:41 PM
To: Historical Costume
Subject: [h-cost] Brat Construction


   Anyone have information on brat construction from the early 16th
century? I am looking for references to materials, shape, size and
decoration.  The fellow (or lady) wearing it will be upper classed
gaelic speaking Scots. What I've seen so far points to rectangular,
fringed and multicolored wool.
   Also, any possibility they might have lined it on one side with
something else, perhaps contrasting in color? I have thought about
trying that, once I get the brat's dimensions right.
Joe


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Yeah.
*sigh*
--sue

Gia wrote:

> Especially on some pillows on in front of a nice fire, a couple of bottles
> of champagne and our favorite foods at our elbows...  (off day dreaming...)
> 
> Emer \ Gia
> ----- Original Message ----- 
> From: "KATHRYN WOLTERS" <albrakat7@yahoo.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, May 24, 2004 10:24 AM
> Subject: Re: [h-cost] The Lion In Winter
> 
> 
> 
>>Patrick Stweart could read the dictionary to me---and no matter how good
> 
> OR bad his costumning--I would be an *esctaticly* happy woman:)
> 
>>Albra



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Yeah.
*double sigh*
--sue, imagining Stewart and Jones *both* reading the dictionary to me, 
and completely unable to come up with OCC [obligatory costume content]....
*sigh*

Dianne & Greg Stucki wrote:

> I personally think James Earl Jones has the most beautiful speaking voice I
> have ever heard..
> 
> Dianne
> ----- Original Message ----- 
> From: "Gia" <gia_gavino@comcast.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, May 24, 2004 2:13 PM
> Subject: Re: [h-cost] The Lion In Winter
> 
> 
> 
>>Especially on some pillows on in front of a nice fire, a couple of bottles
>>of champagne and our favorite foods at our elbows...  (off day
> 
> dreaming...)
> 
>>Emer \ Gia
>>----- Original Message ----- 
>>From: "KATHRYN WOLTERS" <albrakat7@yahoo.com>
>>To: "Historical Costume" <h-costume@indra.com>
>>Sent: Monday, May 24, 2004 10:24 AM
>>Subject: Re: [h-cost] The Lion In Winter
>>
>>
>>
>>>Patrick Stweart could read the dictionary to me---and no matter how good
>>
>>OR bad his costumning--I would be an *esctaticly* happy woman:)
>>
>>>Albra



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Subject: [h-cost] Troys & Troys ideas
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For my money (okay, I got in for free), it's a good movie with a consistent
look and well-paced action. I am lucky enough to live in Melbourne where
there is a large collection of Greek pottery - sorta like a 3D version of
Thomas Hope - and could see where much of the styling for the film came
from.

On an off-costume topic, the thing I found disappointing about Troy was the
dropping of the gods from the story. It was always the gods' interference in
the affairs of men that propelled these myths. I understand that the film
makers decided that it would be too hard to bring such an element to this
film. By putting it into the too-hard basket, they reduced the motivations
of the characters, especially Paris and Helen not to mention that heel
Achilles!

A couple of days back, Bridgette mentioned how inaccurate costuming can be
jarring for the informed viewer of a costume drama. Let me slip sideways and
tell a little story of jarring Trojan tragedies:

Around 15 years ago, musician Jon English with David Mackay recorded Paris,
an opera telling of the Trojan war. It is a great recording, used an
all-star international cast, high quality packaging and was clearly a labour
of love. The idea was to release the recording to finance a stage
production.

Warner Brothers blew the promotion and only 7,000 copies were sold.

There have been several near-misses in staging the opera:

I believe a successful reading of it has been done in Boston;
A big-budget Melbourne company had the choice of Paris or Hello Dolly. They
chose Hello Dolly and lost 3 million bucks - what a shame they did not waste
the money on Paris!

Earlier this year, Paris was at last performed. The rights were given to an
amateur company as a way of getting a workshopping of the show as well as
some marketing visuals.

Jeeze, talk about jarring! The sound and the acting was fine, the singing
good and the concepts as strong as ever.

However, the horse looked like Meccanno on speed; the nobles looked like
they were draped in eiderdowns; and the warriors looked like they were
wearing second-hand linoleum (they were). The hair of the chorus was
everywhere from gay kitsch to straggly student, and what the hell Hector was
doing with an afro and Elvis sideburns is anyone's guess!

So, don't youse go giving any more guff about the wrongs of the movie Troy!

-C.

PS: If you want to find the CD of Paris, it can be purchased online now that
the authors have bought it back. I don't know the address but a search on
Paris, Jon English, David Mackay may help. If you have the original release,
get this one anyway seeing it contains the scenes the record company could
not fit on the original CDs, cassettes and vinyl. It's worth it if only to
hear Demis Roussos ad-lib, "It's all Greek to me!"

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Subject: [h-cost] Wooden horse of Master & Commander
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>>>What's your objection to "Master and Commander"? It won a BAFTA award
for costumes, and they are supposed to have gone to immense trouble to
get the right fabrics etc. My only quibble is that while the ship was
being repaired the officers would have been wearing old clothes instead
of uniform

---
In several scenes, full dress, day and other uniforms were being worn at the
wrong times for the activities, agreed.

The real problem with the uniforms was that the researchers never thought to
consult a calendar.

Generally, the uniforms were 1805 regulation styles.

As I recall, the movie was set in April, 1805. The ship would have been a
sea for at least two to three months to get to the where and when they were.
At a time when communication could take years, the researchers had it in
their minds that a lugubrious organisation like the Royal Navy could roll
out new uniforms that quickly? Or that the new uniform designs were ratified
so early in the year? Or that the officers could afford the money or time to
have their new uniforms made so swiftly?

The reality is that personnel would be wearing a miss-mash of styles for
several years,

-C.

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Troy - I have an idea.
Date: Wed, 26 May 2004 11:53:14 +1000
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>>>Of course this is what you are saying, but the films you state do not
have
crappy costumes.

---No, I did not. I said that they were crap from a point of view of
historical accuracy. You might also note that I mentioned it was the
evokation of the period and character that was more important than the
accuracy,

-C.

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Thanks much!
   I am considering something rather long and wide, rectangular, and
deep fringed on all sides. I am trying to find a tartan in a non
recognizable sett that is in older or subdued colors. I also might use
lightweight 10 ounce wool and line it with a contrasting wool of the
same weight on the inside.
   I did find reference to Queen Mary's highland mantles in a writing
recently, and she's not too far after my period (her pop was my
monarch). She apparently owned three of them, solid colored, and they
were lined. Interesting, eh?


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Never made one with it curved in back (actually can't think of any 
extant ones that are, either), at least in the 16th c.
I only ever made a couple of gowns with bodices with a definite "point" 
in front.  One was a separate bodice, skirt (standard waistband), and 
the other was a combined bodice-and-skirt, with the skirt cartridge 
pleated onto the bodice.  On that one, I did curve the front part of the 
skirt's top a bit--got the idea from Hunnisett, IIRC.
--sue, who's sure your dress will turn out beautifully, no matter how 
you end up doing it!

Bjarne Drews wrote:

> Hi,
> Just wanted to ask some of you renaissance reenactors. When you have a
> seperate skirt and bodice and your skirt is going to have a curved waistline
> (lower in the front and back than the hips) do you sometimes make shaped
> waistbands?
> Bjarne who is considering doing that to the danish court dress.
> 


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Joan Broneske wrote:

> Since when does Guenevere run around in bondage leather?
> 
>           .   . .
>>AlbertCat@aol.com wrote:
>>
>>>And then there's the previews. "Arthur.....the truth behind the myth"
>>>
>>>HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are
> 
> wearing!
> 
>>http://movies.yahoo.com/movies/feature/kingarthur.html


At least she isn't blonde again.



Dawn




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Subject: [h-cost] Antique fabrics--resource book
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As promised earlier, here's the information on the book I have on historic print fabrics:
 
Meller, Susan & Joost Elffers. TEXTILE DESIGNS: Two Hundred Years of European and American Patterns for Printed Fabrics Organized by Motif, Style, Color, Layout, and Period 1,823 Illustrations in Color. New York: Harry N. Abrams, Inc., Publishers, 1991. ISBN 0-8109-3853-7.
 
Each color illustration includes the country of origin, the approximate date, the type of printing (block-, copperplate-, roller-, or screen-printing), how the textile was used (apparel, apparel yard goods, home furnishing, home furnishing yard goods), and the scale of the illustration to the original textile. In some cases, the original design gouaches have been reproduced; these are indicated in the captions. The textiles presented are from 1790 to 1990. All in all, a very useful book for those doing 19th and 20th C. costuming.
 
Dawn
 


Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Hancock's is once again putting all their sewing and quilting notions priced $19.99 and less on sale for 50% off. The sale begins Saturday, 5/29, and runs through Monday, 5/31. If you live near and/or shop at Hancock's, this is a good one. I went last year and was the first one in the door on Saturday morning; a good thing, because by the time I finished my shopping (about 90 minutes later), they were almost cleaned out of basic notions like sewing machine needles, serger thread cones, and expensive sewing tools like soapstone fabric markers.
 
Dawn


Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Date: Tue, 25 May 2004 19:19:48 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] RE: Troy - I have an idea
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At 2:01 PM -0400 5/25/04, AlbertCat@aol.com wrote:
>In a message dated 5/25/2004 1:19:00 PM Eastern Standard Time,
>otsisto@socket.net writes:
>
>>  Greek had the trousers?
>
>I once had a history teacher tell us the women in ancient Greece wore pants.
>
>This confused me and I did a little research. [This was decades ago so don't
>ask me where this came from] Apparently, the Persians wore pants and the
>Greeks, who looked down on everyone, thought the Persians as 
>effeminate and sissies
>[don't ask me why]. It seems that Bacchus is sometimes depicted in Persian
>pants....being the party animal Bacchus was and apparently "light on 
>his feet".
>So Pants were effeminate. So my teacher deduced that the women in Greece wore
>pants....uh...I guess.

I believe that Amazons were also depicted in Greek art wearing 
trousers.  That might have contributed to the conclusion if she was 
only looking at the pictures and not at the context.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT weather  was: Lion in Winter DVD
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On Tue, 25 May 2004, otsisto wrote:

> Yesterday a tornado touched down in Linn, MO which is north of me. We
> got hit pretty hard last night through this morning into the afternoon
> with thunderstorms. My back yard is lowest in the neighborhood so now
> I have a bog working it's way towards a Florida style swamp. :P We're
> suppose to get a break Wed. and it starts up again Thurs. to Sat. Well
> as they say, we live in the state of misery, right next to the state
> of ill noise. :)

I'm a bit east of you in Misery -- I mean, Missouri -- and by the time
those storms got here, they were dumping marble-sized hail. The hailstones
(and the leaves they brought down) clogged a drain behind our house,
leading the water to back up into our basement. I spent the afternoon
shifting boxes out of harm's way ... in the dark, because the power was
out. (My 10-year-old held the flashlight, and we both went squitch squitch
over the cold wet carpet, barefoot).

I am happy to report that the fabric stash was on the dry side of the
basement, and appears to have escaped; the damp is still creeping through
the carpet, but I've moved everything up and over and am keeping close
watch. My husband's office took most of the brunt. Now my worry is mildew.

There was a waterfall and a pond in the back yard (a landscaping
surprise!), and the house has so many new leaves stuck to the outside
walls it looks like patterned wallpaper. My nasturtiums were hacked to
pieces.  The garage has an inch of standing water.  Still, after seeing
the downed trees (some on roofs and houses) a few roads over, we feel
lucky. And even that is nothing compared to what's been happening in
Nebraska and Iowa.

--Robin


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On Tue, 25 May 2004, bobd2 wrote:

> Also there's South Pacific Beads, in Vermont (naturally enough)
> http://www.beading.com/Default.asp

South Pacific's catalog is a fun read just on its own. I haven't ordered
from him yet, but I am looking forward to getting my hands on some of his
new gemstones, yum. He does seem to have an excellent pearl selection.

> > Fire Mountain Gems and beads
> > http://www.firemountaingems.com
> > or call 1(800)355-2137 for free catalog. Their pretty good at getting your
> > order to you.

...and unlike most companies, will take returns without pre-approval, not
time limit, no stocking fees. I just got some nice rice pearls from them,
and they have an excellent selection of silk thread fine enough to string
them (which is hard to find most places; I don't use Kevlar).

> > http://www.nationalsupply.com

These people are local to me, and I do a lot of my bead shopping there.
(They sell wholesale over the counter out of their office, which is well
hidden but worth the trip.) Excellent pearl selection, but it varies from
one week to the next. Don't rely only on the website; call and see what
they happen to have at the moment. Mornings on weekdays are the best time
(least busy, meaning they'll have more patience to talk with you). I have
no idea what their return policy is, as they don't take returns on
face-to-face transactions (but then, we can see what we're getting).

--Robin


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To clarify, are you saying that you are cutting the hip higher and the
front and back lower?   in other words, this is the standard way to cut a
modern straight skirt and you are using this method for your skirt?   this
method is how we get a straight hem when our hips tend to pull up on the
hemline by taking up more room than out butt or stomach does.    the only
time you need a shaped waistband in this case is if you are using a faced
fitted waistline, (which is actually no waistband, but a facing shaped
exactly like the top of the skirt so the skirt can lay directly on the
waist) or if you find your average flat waistband is very uncomfortable
(because of a very hight hip for instance).   a shaped waistband for most
waists would be wasted effort, you generally want the flat waistband to
keep the skirt in place, so it isn't sagging.   if your bodice is shaped,
it goes over the skirt and you never know the skirt follows the natural
waist.   I had a skirt once with a Very wide waistband seven or eight
inches.   it wasn't even shaped, it was basically a rectangle attached to
the skirt.   now according to the pics we were seeing, a very wide
waistband on a victorian corseted figure should be fitted to the figure,
but probably wouldn't if it was a standard inch to inch and a half
waistband.
Hope this helps, fitting is one thing I have LOTS of experience in.  LOL

Kitty


>
> Bjarne Drews wrote:
>
>> Hi,
>> Just wanted to ask some of you renaissance reenactors. When you have a
>> seperate skirt and bodice and your skirt is going to have a curved
>> waistline (lower in the front and back than the hips) do you sometimes
>> make shaped waistbands?
>> Bjarne who is considering doing that to the danish court dress.
>>
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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On Sunday 23 May 2004 09:22 pm, michael tartaglio wrote:
> Hi, All. Hi, Ron. The only thing I can say to agree with you is to
> remind everyone that the title to the first "Harry Potter" movie had to
> be changed from Philosopher's Stone to Sorcerer's Stone in the US
> because the folks in the know thought us to be such boobs that the word
> "Philosopher" might turn us off from reading the book/going to the
> movie. Now you can see why Europe is disgusted with us on so many
> levels....

But they turned out to be wrong!  The Potter books have a huge following in 
America. The statement you cite shows only that the "folks in the know" 
thought Americans were ignorant "boobs."

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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From: "Helen  Pinto" <hpinto@mindspring.com>
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	<200405252027.09456.cathy@thyrsus.com>
Subject: Re: [h-cost] RE: Troy - I have an idea
Date: Tue, 25 May 2004 23:04:07 -0400
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Cathy wrote:
> Can't think of any place else she got the idea--I've never seen any
ancient
> Greek art depicting women--or men, for that matter--in anything pant-like.
>

Look at second figure from the left on the pot in the third image on the
page below.  Amazons were frequently depicted wearing trousers and
long-sleeved tunics (looking much like Scythians).
http://faculty.maxwell.syr.edu/gaddis/HST210/Oct14/Default.htm

             -Helen/Aidan


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Subject: [h-cost] Questions about 1530s German dress
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Hello folks,

I will be constructing a gown in this style 
http://gallery.euroweb.hu/html/c/cranach/lucas_e/9/04judith.html  for a friend.

I have some questions about the bodice and skirt construction:

In some portraits from the same era, the white area of the torso is 
obviously the chemise (or made to look this way), and in other portraits 
(such as the one above), the white area is smooth as if there were a 
stomacher (for lack of a better word) under the lacing.

Is the band across the breasts (is this a plastron?) attached to the bodice 
or is it worn underneath, and if so, how was it kept smooth beneath the bodice?

Is the bodice separate from the skirt or attached?

Is the pleated front of the skirt simply attached to a narrow waistband 
(that can't be seen in the portraits)?

Thanks in advance for any help!

Heidi (ironically, new to German costume)


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Subject: RE: [h-cost] RE: Tornadoes  and Colonial House
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If it's the Aquina tribe of Wampanoag then the outfits are not rendition but
original and would NOT be happy if they were told or given a rendition of
their clothing. The Mashpee Wampanoags are not as in your face about their
tradition as the Aquina. The Wampanoags were a confederation.
I have the privilege of knowing a descendant of Massasoit's daughter who
lives on the same side of town as I. Also, in the next town I have a friend
who is a descendant of Pocahontas's sister. Rosie's pictures of when she was
a teen looks like Pocahontas.
De
-----Original Message-----
>From: "otsisto" <otsisto@socket.net>
>Catherine Kinsey wrote:
>>Anyone want to comment on the "indian" costumes?
>Okay, now I'm starting to wish I could get this. I would love to see their
>rendition of native garments.

It's not -their- rendition.  My impression has been that the  Passamaquoddy
(the local tribe) seemed to have come up with their own clothes.  And I
would be greatly surprised if the Wampanoag who came to visit took any
advice on their traditional clothing :)

Marc

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Subject: RE: [h-cost] The Victorian corset debate
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You are right. I should not have generalized.
As there are different schools of TKD there are different teaching methods
and rules.
Our school follows what we have been told by Pediatricians about bone
development in children and therefore do not allow children under the age of
15 to break boards with their hands.
Also, you have to be 12 1/2 years old to become a black belt because we feel
that there is more to being a black belt then knowing patterns and breaking
things. There is a maturity that we feel that most 7 year olds do not have.
Also to be a black belt you are expected to be able to instruct and have
patience with lower rank students.
But that is our school.

De
-----Original Message-----

On Sunday 23 May 2004 10:43 pm, kat@grendal.rain.com wrote:
> > Children's bones are soft. Children in Tae Kwon-Do classes are not
> > allowed to break boards with their hands due to developing bones.

Excuse me....but it's not correct that children studying tae kwon do are not
permitted to break boards with their hands.

I studied tae kwan do for over 10 years (earned a black belt).  The
grandmaster who ran our school loved to teach children, and boasted of
having
earned his first degree black belt by the time he was 7.

Anyway, at our school kids as young as 7 (there were a few who were younger,
but I don't remember offhand whether I saw the younger ones break boards)
did
board breaks all the time.  Granted, they used smaller boards.  But they did
hand breaks--in fact they were started out with hand breaks--and I never saw
a child injured in the course of breaking a board.

--
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies."
-Oscar Wilde
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Subject: Re: [h-cost] King Arthur was: RE: Troy - I have an idea
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In a message dated 5/25/2004 9:09:24 PM Eastern Standard Time, 
Tiffsewsstuff@aol.com writes:

> guess I'm just a freak when it comes to judging the quality of costuming in 
> 
> "period" films LOL.  I am okay with films that have fantasy-based rather 
> than 
> reality-based costuming, as long as the costuming is *good*! 

Oh I agree. But "Arthur" bills itself as the true story behind the myth.

Yeah....right.
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In a message dated 5/25/2004 9:51:34 PM Eastern Standard Time, 
stilskin@netspace.net.au writes:

> On an off-costume topic, the thing I found disappointing about Troy was the
> dropping of the gods from the story.

I totally agree. Just takes a lot of the fun out of it.

I much prefer the beauty contest between Hera, Aphrodite and Athena to the 
soap opera scenes with Paris and Helen. And where's one of the best classical 
characters ever....Casandra????
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Troy - I have an idea.
Date: Tue, 25 May 2004 23:38:15 -0400
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On Tuesday 25 May 2004 09:24 pm, Susan Carroll-Clark wrote:
> Greetings--
>
> > The fighting scenes *were* cool.  The casting was, in my judgment,
>
> excellent.
>
> > Though I was a bit annoyed at the vast extent to which they costumed both
> > Trojans and Greeks from the local Indian bazaar....
>
> In fact, I own one of Helen's pairs of earrings...

No doubt, since Toronto has, I'm told, a really great Indian market area.  :-)

Which I missed, due to bad planning, when I visited Toronto for the World 
Science Fiction Convention last fall.  Just in case I get another opportunity 
to visit, which subway stop is closest to the Indian market area?  Thanks in 
advance for any help.

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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In a message dated 5/25/2004 9:53:26 PM Eastern Standard Time, 
stilskin@netspace.net.au writes:

> Of course this is what you are saying, but the films you state do not
> have
> crappy costumes.
> 
> ---No, I did not. I said that they were crap from a point of view of
> historical accuracy. You might also note that I mentioned it was the
> evokation of the period and character that was more important than the
> accuracy,
> 
Huh....I agreed with you on that....when I said "Of course this is what you 
are saying".
And the films you mention are not crap even from an historical perspective.
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Subject: Re: [h-cost] King Arthur was: RE: Troy - I have an idea
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OMG!!! That is something else... what is she supposed to be? or was the real
costume designer sick that day?


----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1101084736.2a597d@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 5:52 PM
Subject: [h-cost] King Arthur was: RE: Troy - I have an idea


> AlbertCat@aol.com wrote:
> > And then there's the previews. "Arthur.....the truth behind the myth"
> >
> > HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are
wearing!
>
> http://movies.yahoo.com/movies/feature/kingarthur.html
>
>
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
>
> "The mind games, the isolation, the accusations about being unfaithful,
> the obsessive keeping track, preventing the other person from getting a
> job... We're in an abusive relationship with the Bush Administration!"
> --  Sparrow to Stuart, DTWOF
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> From: "Christopher Ballis" <stilskin@netspace.net.au> wrote:

> >thought I'd buy the civil war underwear patterns but I'm not sure which
> >corset pattern to take as one of my free patterns, there's 2 different
> >styles,
> 
> Niether. Both are rubbish. Spend your money on ice cream (Aldi's Havana Lane
> creamy chocolate),

I beg to differ. Having made several corsets from diagrams of originals 
(from both _Corsets and Crinolines_ and _Waisted Efforts_), at least one 
of the Simplicity 1860's era corsets is, in fact, a period design 
'translated', if you will, for modern seamstresses.

The shaped corset (9769) is what was called a French stay or sport 
corset (for 'sportswear' or summer wear, such corsets were sometimes 
made of one layer with applied casings). The cut is identical to a 
corset I made 10 years ago from a diagram in _Corsets and Crinolines_ , 
only the sizing is different. ALso, it should be noted that teh designer 
had no control over how the pattern graders sized the corset - it is 
actually patterned aobut 2 sizes larger than it should be, but once that 
is accounted for, you can get a very creditable result and a period 
silhouette. It looks simialr to Past Patterns #'s 703 (sans skirt 
support) and 213.

Design 5726 looks to be a similar cut. I have not tested it or even 
looked at, however. If I were to pick one, I'd pick 9769.

Design 7215, the gusseted stays, I have seen but not tested. It's a very 
period design, and looks comparable to Past Patterns #'s 708 and the 
shorter stay in 002. It is by the same designer as 9769, so I expect it 
is as well researched and patterned. This style is definitely more 
suited to buxom bustlines, but it is harder to assemble.

Just because it's from a "Big Three" company doesn't mean it's garbage.

Maura

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Troy - I have an idea
Date: Wed, 26 May 2004 00:10:00 -0400
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On Tuesday 25 May 2004 11:04 pm, Helen Pinto wrote:
> Cathy wrote:
> > Can't think of any place else she got the idea--I've never seen any
>
> ancient
>
> > Greek art depicting women--or men, for that matter--in anything
> > pant-like.
>
> Look at second figure from the left on the pot in the third image on the
> page below.  Amazons were frequently depicted wearing trousers and
> long-sleeved tunics (looking much like Scythians).
> http://faculty.maxwell.syr.edu/gaddis/HST210/Oct14/Default.htm


Forgive me for not being clear.  I meant that I never saw *Greek* men or women 
depicted in pants. The Amazons *weren't* Greek!  As you pointed out, the 
Amazons are dressed pretty much like Scythians on that amphora.


-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] King Arthur was: RE: Troy
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Brandy Deming wrote:

> OMG!!! That is something else... what is she supposed to be? or was the real
> costume designer sick that day?
> 
> 

I would guess, from the blue face paint and spiral designs that she is 
supposed to be a Celtic warrior-princess type character.

I predict a lot more blue face paint at Ren-fest this fall.



Dawn



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From h-costume-bounces@indra.com  Wed May 26 01:14:36 2004
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Antique fabrics
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you might ask the person doing doll clothes what she
>bases her choices on, you might find her more likeminded than you think. 

I hang around with lots of dollmakers these days, and they aren't on that
point.  I go into denial about this, because I otherwise like the people,
and change the subject.

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

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Subject: Re: [h-cost] RE: Troy - I have an idea
Date: Wed, 26 May 2004 07:42:50 +0100
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The only illustration I can find to hand in a hurry is of an early 5th
century Attic red-figure cup in the Louvre (G115).  It shows the duel
between Ajax and Hektor at Troy, with Athene supporting Ajax and Apollo
supporting Hektor.

Ajax has a complicated outfit, including lots of armour and what looks like
two kilts - one shorter than the other - with handkerchief points and lots
of narrow pleats.  Hektor the Trojan is completely naked, except for a
Greek-style helmet, sword and round shield, and his scabbard - which is hung
from a long strap over one shoulder.  This very narrow strap seems to have a
couple of short tassels hanging at either side where it crosses his abdomen.
Nothing else at all.

So - who played Ajax in the film?  Was he dressed as this Greek cup imagines
him?  Would the audience have wanted to see that?

Linda Walton,
(in High Wycombe, Buckinghamshire, U.K.,
who thinks she may have to get round to seeing this film after all . . .).

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] waistband for skirts
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I've never shaped a waistband either.  On everything I do where the skirt is
separate the skirt goes on after hoop but before bodice so the way the skirt
waistband is shaped doesn't matter.  Even when I have seen cartridge pleated
Elizabethan skirts they are not shaped, the pleats are just a shelf that
springs out from under the bodice edges.

My only caution, Bjarne, is my period of focus is the 1580's UK and I
believe the gown you are working on is later period.

Molly

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of basyefelton@floodcity.net
Sent: Tuesday, May 25, 2004 8:04 PM
To: h-costume@indra.com
Subject: Re: [h-cost] waistband for skirts


To clarify, are you saying that you are cutting the hip higher and the
front and back lower?   in other words, this is the standard way to cut a
modern straight skirt and you are using this method for your skirt?   this
method is how we get a straight hem when our hips tend to pull up on the
hemline by taking up more room than out butt or stomach does.    the only
time you need a shaped waistband in this case is if you are using a faced
fitted waistline, (which is actually no waistband, but a facing shaped
exactly like the top of the skirt so the skirt can lay directly on the
waist) or if you find your average flat waistband is very uncomfortable
(because of a very hight hip for instance).   a shaped waistband for most
waists would be wasted effort, you generally want the flat waistband to
keep the skirt in place, so it isn't sagging.   if your bodice is shaped,
it goes over the skirt and you never know the skirt follows the natural
waist.   I had a skirt once with a Very wide waistband seven or eight
inches.   it wasn't even shaped, it was basically a rectangle attached to
the skirt.   now according to the pics we were seeing, a very wide
waistband on a victorian corseted figure should be fitted to the figure,
but probably wouldn't if it was a standard inch to inch and a half
waistband.
Hope this helps, fitting is one thing I have LOTS of experience in.  LOL

Kitty


>
> Bjarne Drews wrote:
>
>> Hi,
>> Just wanted to ask some of you renaissance reenactors. When you have a
>> seperate skirt and bodice and your skirt is going to have a curved
>> waistline (lower in the front and back than the hips) do you sometimes
>> make shaped waistbands?
>> Bjarne who is considering doing that to the danish court dress.
>>
>
>
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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] RE: Tornadoes  and Colonial House
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At 10:08 PM 5/25/2004 -0500, you wrote:
>If it's the Aquina tribe of Wampanoag then the outfits are not rendition but
>original and would NOT be happy if they were told or given a rendition of
>their clothing. The Mashpee Wampanoags are not as in your face about their
>tradition as the Aquina. The Wampanoags were a confederation.
>I have the privilege of knowing a descendant of Massasoit's daughter who
>lives on the same side of town as I. Also, in the next town I have a friend
>who is a descendant of Pocahontas's sister. Rosie's pictures of when she was
>a teen looks like Pocahontas.
>De


It was the Mashpee, as I read under the name titles. I rather liked the 
Elder, Ramona. She was very wise, far sighted, and in modern terms... she 
rocked!

Kimiko

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From: "Molly Boone" <Rampant_Peacock@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] King Arthur was: RE: Troy
Date: Wed, 26 May 2004 00:33:55 -0700
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I'd say they actually base Guenevere on the Celtic Princess she was supposed
to have been depending on the legends you have read.  From what I know women
were fighters and leaders as much as the men so at least she won't be the
pansy-assed maiden in distress (You must pay the rest, but I can't pay the
rent) type. Take it to far? Possible considering the top and vast quantities
of spirit gun they had to have used to keep it in place.  But I personally
will reserve judgment until I have seen it.

Molly

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Dawn
Sent: Tuesday, May 25, 2004 9:31 PM
To: Historical Costume
Subject: Re: [h-cost] King Arthur was: RE: Troy


Brandy Deming wrote:

> OMG!!! That is something else... what is she supposed to be? or was the
real
> costume designer sick that day?
>
>

I would guess, from the blue face paint and spiral designs that she is
supposed to be a Celtic warrior-princess type character.

I predict a lot more blue face paint at Ren-fest this fall.



Dawn



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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Wooden horse of Master & Commander
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Kate Bunting
Library, University of Derby

>>> stilskin@netspace.net.au 26/05/2004 02:53:13 >>>
>>>What's your objection to "Master and Commander"?  My only 
>>>quibble is that while the ship was being repaired the officers would
>>>have been wearing old clothes instead of uniform

>Generally, the uniforms were 1805 regulation styles.

>The reality is that personnel would be wearing a miss-mash of styles
>for several years,

I respect your expert knowledge, but I would consider that to be a
quibble too. It hardly justifies such a sweeping condemnation!


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Subject: Re: [h-cost] King Arthur was: RE: Troy
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Actually that is what's bothering me, coming from a movie who claims its
"historical accuracy" : the scenario apparently makes no difference between
Picts and Britons... Which is a good excuse to dress everybody with strips
of leather and paint all of them in blue ;)

But then again, if it comes to a good movie in the end... At least,
Guenievre may have an interesting role, for once ;)


----- Original Message -----
From: "Molly Boone" <Rampant_Peacock@comcast.net>


> I'd say they actually base Guenevere on the Celtic Princess she was
supposed
> to have been depending on the legends you have read.  From what I know
women
> were fighters and leaders as much as the men so at least she won't be the
> pansy-assed maiden in distress (You must pay the rest, but I can't pay the
> rent) type. Take it to far? Possible considering the top and vast
quantities
> of spirit gun they had to have used to keep it in place.  But I personally
> will reserve judgment until I have seen it.
>
> Molly
>

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Greetings--

> Which I missed, due to bad planning, when I visited Toronto for the World
> Science Fiction Convention last fall.  Just in case I get another
opportunity
> to visit, which subway stop is closest to the Indian market area?  Thanks
in
> advance for any help.

It's not particularly close to any subway stop, but you can get there by
going to Coxwell station on the Bloor subway line and taking a bus south to
Gerrard St.  That will put you at the east end of Little India.

Susan

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Subject: Re: [h-cost] The Lion In Winter
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----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 9:49 PM
Subject: Re: [h-cost] The Lion In Winter


> Yeah.
> *double sigh*
> --sue, imagining Stewart and Jones *both* reading the dictionary to me,
> and completely unable to come up with OCC [obligatory costume content]....
> *sigh*
>


How about a lovely, soft, silky negligee and peignoir, as in the old 30's
movies?

Dianne

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Subject: Re: [h-cost] King Arthur was: RE: Troy
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In a message dated 5/25/04 11:27:06 PM Central Daylight Time, 
dawn@reddawn.net writes:
I predict a lot more blue face paint at Ren-fest this fall.


Not to mention chain mail bikinis, God help us.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
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In a message dated 5/26/04 4:17:22 AM Central Daylight Time, liara@wanadoo.fr 
writes:
Actually that is what's bothering me, coming from a movie who claims its
"historical accuracy" : the scenario apparently makes no difference between
Picts and Britons... Which is a good excuse to dress everybody with strips
of leather and paint all of them in blue ;)


LOL ... this brought to mind another example of a good movie with bizarre 
costuming, Braveheart.  The costuming is on the hilarious side, but it was at 
least beautiful to look at, and it didn't ultimately interfere with my enjoyment 
of the movie, any of the 462 times or so that I've watched it.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
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In a message dated 5/26/2004 2:44:26 AM Eastern Standard Time, 
linda.walton@dsl.pipex.com writes:

> So - who played Ajax in the film?  Was he dressed as this Greek cup 
> imagines
> him?  Would the audience have wanted to see that?
> 

Oh yes! They would have. The film is definitely long haired hunks in short 
skirts.
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In a message dated 5/26/2004 3:36:10 AM Eastern Standard Time, 
Rampant_Peacock@comcast.net writes:

> But I personally
> will reserve judgment until I have seen it.
> 

That's more than fair minded of you. The promo was enough for me.
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Arthur? in plate mail, and Guinivere in Gor-bondage stuff! Eeegad!
If this was tongue-in-cheek, that would be one thing, but it sounds like 
they think they're taking themselves seriously! Jaysus!
--sue, who thinks she'll wait for "88 cent Tuesday" at the local video 
rental place

Brandy Deming wrote:
> OMG!!! That is something else... what is she supposed to be? or was the real
> costume designer sick that day?
> 
> 
> ----- Original Message ----- 
> From: "Cynthia Virtue" <cvirtue+dated+1101084736.2a597d@thibault.org>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, May 25, 2004 5:52 PM
> Subject: [h-cost] King Arthur was: RE: Troy - I have an idea
> 
> 
> 
>>AlbertCat@aol.com wrote:
>>
>>>And then there's the previews. "Arthur.....the truth behind the myth"
>>>
>>>HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are
> 
> wearing!
> 
>>http://movies.yahoo.com/movies/feature/kingarthur.html


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From: Sue Clemenger <mooncat@in-tch.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] waistband for skirts
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I'd have to double-check to make sure, but I recall that the majority of 
the skirts from complete (extant)gowns (as opposed to an underskirt) in 
Arnold's _Patterns of Fashion 1560-1620_ have shaped upper edges.  ISTR 
one child's dress that does not.
Don't remember any waistbands, though, shaped or not (on the 
skirts...men's clothing being a different topic).
--sue

Molly Boone wrote:

> I've never shaped a waistband either.  On everything I do where the skirt is
> separate the skirt goes on after hoop but before bodice so the way the skirt
> waistband is shaped doesn't matter.  Even when I have seen cartridge pleated
> Elizabethan skirts they are not shaped, the pleats are just a shelf that
> springs out from under the bodice edges.
> 
> My only caution, Bjarne, is my period of focus is the 1580's UK and I
> believe the gown you are working on is later period.
> 



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Lion In Winter
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On Stewart and Jones, or on me? <weg>
--sue, feeling very silly
(oh, duh...costume content! <giggle>...yeah, that would work....)

Dianne & Greg Stucki wrote:

> ----- Original Message ----- 
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, May 25, 2004 9:49 PM
> Subject: Re: [h-cost] The Lion In Winter
> 
> 
> 
>>Yeah.
>>*double sigh*
>>--sue, imagining Stewart and Jones *both* reading the dictionary to me,
>>and completely unable to come up with OCC [obligatory costume content]....
>>*sigh*
>>
> 
> 
> 
> How about a lovely, soft, silky negligee and peignoir, as in the old 30's
> movies?
> 
> Dianne
> 


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From: "Christopher Ballis" <stilskin@netspace.net.au>
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>>> but I would consider that to be a
quibble too. It hardly justifies such a sweeping condemnation!

---
But the ship was manned by all those quibbles (oh, and Rusty's cuff lace was
wrong, too),

-C.

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now you've brought up a question that has been in my mind for quite a
while.  when looking at the vintage patterns at past patterns or Amazon
Drygoods, someone please tell me what is a skirt support?   Maura below
states that a certain pattern is identical to a vintage style pattern,
"minus the skirt support"  now I want to find out what that is, please.  
thanks,  Kitty

>> From: "Christopher Ballis" <stilskin@netspace.net.au> wrote:
>
>> >thought I'd buy the civil war underwear patterns but I'm not sure
>> which corset pattern to take as one of my free patterns, there's 2
>> different styles,
>>
>> Niether. Both are rubbish. Spend your money on ice cream (Aldi's
>> Havana Lane creamy chocolate),
>
> I beg to differ. Having made several corsets from diagrams of originals
> (from both _Corsets and Crinolines_ and _Waisted Efforts_), at least one
>  of the Simplicity 1860's era corsets is, in fact, a period design
> 'translated', if you will, for modern seamstresses.
>
> The shaped corset (9769) is what was called a French stay or sport
> corset (for 'sportswear' or summer wear, such corsets were sometimes
> made of one layer with applied casings). The cut is identical to a
> corset I made 10 years ago from a diagram in _Corsets and Crinolines_ ,
> only the sizing is different. ALso, it should be noted that teh designer
>  had no control over how the pattern graders sized the corset - it is
> actually patterned aobut 2 sizes larger than it should be, but once that
>  is accounted for, you can get a very creditable result and a period
> silhouette. It looks simialr to Past Patterns #'s 703 (sans skirt
> support) and 213.
>
> Design 5726 looks to be a similar cut. I have not tested it or even
> looked at, however. If I were to pick one, I'd pick 9769.
>
> Design 7215, the gusseted stays, I have seen but not tested. It's a very
>  period design, and looks comparable to Past Patterns #'s 708 and the
> shorter stay in 002. It is by the same designer as 9769, so I expect it
> is as well researched and patterned. This style is definitely more
> suited to buxom bustlines, but it is harder to assemble.
>
> Just because it's from a "Big Three" company doesn't mean it's garbage.
>
> Maura
>


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] waistbands
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Hi,
I posted this for another list: lumieres as well. Some person claimed that
cartridge pleating was not 18th century, but i dont know where he has his
documentation from.
I posted this for you to se. The second portrait clearly shows that
cartridge pleating was used to make the fabric go over the hoop in the
sides.
The last drawing shows how i would make the shaped waistband. This way i
could get the skirt to fit the bodice very closely, and that is my aim.
http://www.my-drewscostumes.dk/waistband

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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	<3518.198.93.212.26.1085579655.squirrel@webmail.floodcity.net>
Subject: Re: [h-cost] Simplicity's corset patterns
Date: Wed, 26 May 2004 16:08:22 +0200
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Hi.
This support would be a crinoline cage. Hooped petticoat.

Bjarne


----- Original Message ----- 
From: <basyefelton@floodcity.net>
To: <h-costume@indra.com>
Sent: Wednesday, May 26, 2004 3:54 PM
Subject: RE: [h-cost] Simplicity's corset patterns


> now you've brought up a question that has been in my mind for quite a
> while.  when looking at the vintage patterns at past patterns or Amazon
> Drygoods, someone please tell me what is a skirt support?   Maura below
> states that a certain pattern is identical to a vintage style pattern,
> "minus the skirt support"  now I want to find out what that is, please.
> thanks,  Kitty
>
> >> From: "Christopher Ballis" <stilskin@netspace.net.au> wrote:
> >
> >> >thought I'd buy the civil war underwear patterns but I'm not sure
> >> which corset pattern to take as one of my free patterns, there's 2
> >> different styles,
> >>
> >> Niether. Both are rubbish. Spend your money on ice cream (Aldi's
> >> Havana Lane creamy chocolate),
> >
> > I beg to differ. Having made several corsets from diagrams of originals
> > (from both _Corsets and Crinolines_ and _Waisted Efforts_), at least one
> >  of the Simplicity 1860's era corsets is, in fact, a period design
> > 'translated', if you will, for modern seamstresses.
> >
> > The shaped corset (9769) is what was called a French stay or sport
> > corset (for 'sportswear' or summer wear, such corsets were sometimes
> > made of one layer with applied casings). The cut is identical to a
> > corset I made 10 years ago from a diagram in _Corsets and Crinolines_ ,
> > only the sizing is different. ALso, it should be noted that teh designer
> >  had no control over how the pattern graders sized the corset - it is
> > actually patterned aobut 2 sizes larger than it should be, but once that
> >  is accounted for, you can get a very creditable result and a period
> > silhouette. It looks simialr to Past Patterns #'s 703 (sans skirt
> > support) and 213.
> >
> > Design 5726 looks to be a similar cut. I have not tested it or even
> > looked at, however. If I were to pick one, I'd pick 9769.
> >
> > Design 7215, the gusseted stays, I have seen but not tested. It's a very
> >  period design, and looks comparable to Past Patterns #'s 708 and the
> > shorter stay in 002. It is by the same designer as 9769, so I expect it
> > is as well researched and patterned. This style is definitely more
> > suited to buxom bustlines, but it is harder to assemble.
> >
> > Just because it's from a "Big Three" company doesn't mean it's garbage.
> >
> > Maura
> >
>
>
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Subject: Re: [h-cost] King Arthur was: RE: Troy - I have an idea
Date: Wed, 26 May 2004 10:15:15 -0400
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I will definitely be going, if only to listen to my husband sizzle beside
me. :-)
This is his time period, and he'll be watching the armor choices/fighting
like a hawk.
Should make for an interesting discussion in the car after...

Sheridan


----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 26, 2004 9:12 AM
Subject: Re: [h-cost] King Arthur was: RE: Troy - I have an idea


> Arthur? in plate mail, and Guinivere in Gor-bondage stuff! Eeegad!
> If this was tongue-in-cheek, that would be one thing, but it sounds like
> they think they're taking themselves seriously! Jaysus!
> --sue, who thinks she'll wait for "88 cent Tuesday" at the local video
> rental place
>
> Brandy Deming wrote:
> > OMG!!! That is something else... what is she supposed to be? or was the
real
> > costume designer sick that day?
> >
> >
> > ----- Original Message -----
> > From: "Cynthia Virtue" <cvirtue+dated+1101084736.2a597d@thibault.org>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Tuesday, May 25, 2004 5:52 PM
> > Subject: [h-cost] King Arthur was: RE: Troy - I have an idea
> >
> >
> >
> >>AlbertCat@aol.com wrote:
> >>
> >>>And then there's the previews. "Arthur.....the truth behind the myth"
> >>>
> >>>HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are
> >
> > wearing!
> >
> >>http://movies.yahoo.com/movies/feature/kingarthur.html
>
>
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Wed May 26 10:29:53 2004
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Subject: Re: [h-cost] King Arthur movie
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I'll probably go see it.  The evidence for King Arthur is so scant, that 
I consider the stories as we now know them to be a work of fantasy 
that's been in development for 1600 years.  So I'm ok with fantasy 
costuming for it.

That said, if you're a warrior princess, you need a sturdy outfit that 
you don't slip out of easily.  Xena's outfit was sexy, but it stayed on! 
  This one seems far less practical.  And let's not talk about sunburn.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From h-costume-bounces@indra.com  Wed May 26 10:43:18 2004
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Subject: Re: [h-cost] King Arthur was: RE: Troy - I have an idea
From: ruthanne baumgartner <ruthanneb@mindspring.com>
To: Historical Costume <h-costume@indra.com>
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Well, since the website claims the film tells the Arthur story "with
attention to realism," OBVIOUSLY she's supposed to be real! Just another
support for that book that claimed the gods were actually visitors from
another planet--was it Chariots of the Gods?--so, apparently, were the
"people" of the Arthur legend! At any rate, if she's real she's from
someplace other than earth. --a "real" wet dream, maybe?
I'm glad somebody has access to the "truth" behind myth. I thought only
Joseph Campbell could claim that....

--Tongue-firmly-in-cheek posting from
Ruth Anne Baumgartner
scholar gypsy and amateur costumer



 on 5/25/04 11:57 PM, Brandy Deming at queenscorner@verizon.net wrote:

> OMG!!! That is something else... what is she supposed to be? or was the real
> costume designer sick that day?
> 
> 
> ----- Original Message -----
> From: "Cynthia Virtue" <cvirtue+dated+1101084736.2a597d@thibault.org>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, May 25, 2004 5:52 PM
> Subject: [h-cost] King Arthur was: RE: Troy - I have an idea
> 
> 
>> AlbertCat@aol.com wrote:
>>> And then there's the previews. "Arthur.....the truth behind the myth"
>>> 
>>> HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are
> wearing!
>> 
>> http://movies.yahoo.com/movies/feature/kingarthur.html
>> 
>> 
>> -- 
>> Cynthia Virtue and/or
>> Cynthia du Pré Argent
>> 
>> "The mind games, the isolation, the accusations about being unfaithful,
>> the obsessive keeping track, preventing the other person from getting a
>> job... We're in an abusive relationship with the Bush Administration!"
>> --  Sparrow to Stuart, DTWOF
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>> 
> 
> _______________________________________________
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Subject: Re: Weight of underwear (was Re: [h-cost] Foaming at the mouth)
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NO. He said UNDERWEAR was 11lbs. I'm sure if he threw in the dress weight it
would have gone up to 35lbs. If he meant something else he should have said
it. Not adlibbed if he wasn't sure.

B~
=============================
http://kristalori.com
Book Sale! http://www.livejournal.com/users/jaie/100006.html
=============================


----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>

> Perhaps they meant to say that 11 lbs was the weight of all the clothes a
> woman wore--not just the underwear?
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
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LOL, yeah, I've done that sometimes.   good idea.  Kitty

Carolyn Kayta Barrows wrote:
> 
> you might ask the person doing doll clothes what she
> >bases her choices on, you might find her more likeminded than you think.
> 
> I hang around with lots of dollmakers these days, and they aren't on that
> point.  I go into denial about this, because I otherwise like the people,
> and change the subject.
> 
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
> 
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
>           /----\   /---\))
> 
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Heidi wrote:

I will be constructing a gown in this style 
http://gallery.euroweb.hu/html/c/cranach/lucas_e/9/04judith.html for a friend.

I have some questions about the bodice and skirt construction:

In some portraits from the same era, the white area of the torso is 
obviously the chemise (or made to look this way), and in other portraits 
(such as the one above), the white area is smooth as if there were a 
stomacher (for lack of a better word) under the lacing.

Is the band across the breasts (is this a plastron?) attached to the bodice 
or is it worn underneath, and if so, how was it kept smooth beneath the bodice?

Is the bodice separate from the skirt or attached?

Is the pleated front of the skirt simply attached to a narrow waistband 
(that can't be seen in the portraits)?

Thanks in advance for any help!


Hi Heidi--

In order of your questions, firstly the entire "thing" under the lacing is the plastron, and includes the breastband. In most of the Cranach-style dresses I've seen/built, the plastron is permanently attached on one side, hooks under the trim on the other side, and then the laces go over that to help hold the dress closed and properly fit. The dress is, of course, worn over a chemise (frequently not very visible on Cranach's paintings). The plastron itself is not necessarily smooth; the plastron on one friend's dress is backed with undyed fustian (to help give support) but the outer layer is very fine linen that has very fine, smocking-style pleats in it.

The bodice and skirt are built separately, then attached almost all the way around, and the very narrow waistband is hidden under the front of the bodice and the plastron when the gown is worn. I've always seen these dresses made with a side-opening skirt to accomodate this type of construction. The skirts that Cranach paints are organ-pleated, but I've seen many Cranach-style dresses constructed with cartridge pleats, padded cartridge pleats, and a host of other styles of pleating.

For TONS of information on this particular style of dress, the best place to go is the GermanRenCostume list at Yahoo:

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

A number of people on this list are also on that list, and in their message archives you can find encyclopedic information on every aspect of German Renaissance costume.

Dawn



Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Oh my so many different terms to learn.  how funny.  thanks.  Kitty

Bjarne og Leif Drews wrote:
> 
> Hi.
> This support would be a crinoline cage. Hooped petticoat.
> 
> Bjarne
> 
> ----- Original Message -----
> From: <basyefelton@floodcity.net>
> To: <h-costume@indra.com>
> Sent: Wednesday, May 26, 2004 3:54 PM
> Subject: RE: [h-cost] Simplicity's corset patterns
> 
> > now you've brought up a question that has been in my mind for quite a
> > while.  when looking at the vintage patterns at past patterns or Amazon
> > Drygoods, someone please tell me what is a skirt support?   Maura below
> > states that a certain pattern is identical to a vintage style pattern,
> > "minus the skirt support"  now I want to find out what that is, please.
> > thanks,  Kitty
> >
> > >> From: "Christopher Ballis" <stilskin@netspace.net.au> wrote:
> > >
> > >> >thought I'd buy the civil war underwear patterns but I'm not sure
> > >> which corset pattern to take as one of my free patterns, there's 2
> > >> different styles,
> > >>
> > >> Niether. Both are rubbish. Spend your money on ice cream (Aldi's
> > >> Havana Lane creamy chocolate),
> > >
> > > I beg to differ. Having made several corsets from diagrams of originals
> > > (from both _Corsets and Crinolines_ and _Waisted Efforts_), at least one
> > >  of the Simplicity 1860's era corsets is, in fact, a period design
> > > 'translated', if you will, for modern seamstresses.
> > >
> > > The shaped corset (9769) is what was called a French stay or sport
> > > corset (for 'sportswear' or summer wear, such corsets were sometimes
> > > made of one layer with applied casings). The cut is identical to a
> > > corset I made 10 years ago from a diagram in _Corsets and Crinolines_ ,
> > > only the sizing is different. ALso, it should be noted that teh designer
> > >  had no control over how the pattern graders sized the corset - it is
> > > actually patterned aobut 2 sizes larger than it should be, but once that
> > >  is accounted for, you can get a very creditable result and a period
> > > silhouette. It looks simialr to Past Patterns #'s 703 (sans skirt
> > > support) and 213.
> > >
> > > Design 5726 looks to be a similar cut. I have not tested it or even
> > > looked at, however. If I were to pick one, I'd pick 9769.
> > >
> > > Design 7215, the gusseted stays, I have seen but not tested. It's a very
> > >  period design, and looks comparable to Past Patterns #'s 708 and the
> > > shorter stay in 002. It is by the same designer as 9769, so I expect it
> > > is as well researched and patterned. This style is definitely more
> > > suited to buxom bustlines, but it is harder to assemble.
> > >
> > > Just because it's from a "Big Three" company doesn't mean it's garbage.
> > >
> > > Maura
> > >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
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Oh Dianne! What a lovely idea!  A lovely bias cut negligee, out of a soft
plum silk satin, with a matching peignoir.  No lace...a svelt, classic line,
with itty bitty shoulder straps that fall and drape ever so coyly....

The pillows would be black and white silk velvet and silk satin, on a lovely
*very good* faux fur bearskin rug.

The fireplace would be a classic for the period, art nouveau (spelling?).

*sigh*
Emer \ Gia
----- Original Message ----- 
From: "Dianne & Greg Stucki" <goofy1@suscom.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 26, 2004 4:23 AM
Subject: Re: [h-cost] The Lion In Winter
> How about a lovely, soft, silky negligee and peignoir, as in the old 30's
> movies?
>
> Dianne
>
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From h-costume-bounces@indra.com  Wed May 26 12:13:07 2004
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Date: Wed, 26 May 2004 12:06:47 -0400
From: Kitty Felton <basyefelton@floodcity.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] waistbands
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it looks like you want your skirt to ride on the hips in back and on the
pelvis in front?   are you going to use hooks and eyes to keep it
together with the bodice?   

Might I suggest that you instead create a yoke which comes to the waist
and dips in the front so that you have less likelihood of gapeing if you
raise your arms. I think it would be more comfortable since it would
give the weight of the skirt more support.  
	to create the yoke, you would make a fitted skirt at the waiste and hip
(like a straight skirt) with a matching facing, no waistband, and the
skirt itself would be gathered onto it.   it would take a lot of
fiddling to get the skirt shaped right to match the dip in the lower
edge of the yoke, but it would be easier than what you have drawn, since
it would be more stable and not so likely to slip around on you.   


Bjarne og Leif Drews wrote:
> 
> Hi,
> I posted this for another list: lumieres as well. Some person claimed that
> cartridge pleating was not 18th century, but i dont know where he has his
> documentation from.
> I posted this for you to se. The second portrait clearly shows that
> cartridge pleating was used to make the fabric go over the hoop in the
> sides.
> The last drawing shows how i would make the shaped waistband. This way i
> could get the skirt to fit the bodice very closely, and that is my aim.
> http://www.my-drewscostumes.dk/waistband
> 
> 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 May 26 14:16:17 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] waistbands
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Dear Kitty.
Yes i thoaght about doing something like that.  I intended to make some
sewed buttonhole bars just over where the tabs starts on the bodice, and
then i would sew on some hooks to the skirt so that it keeps the curves at
the hips and that it wont slit down.
The big question is how did they do it back in 18th century. I keep on
reading that the courtdress was split up in bodice and skirt, and the
example of Sophia Magdalenas wedding dress and her coronation dress is
seperate bodice and skirt. But sometimes i wonder if some examples could
have ben made up with sewed on skirt to the bodice. At least at the hips!

This is very difficult matter!

Bjarne

----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 26, 2004 6:06 PM
Subject: Re: [h-cost] waistbands


> it looks like you want your skirt to ride on the hips in back and on the
> pelvis in front?   are you going to use hooks and eyes to keep it
> together with the bodice?
>
> Might I suggest that you instead create a yoke which comes to the waist
> and dips in the front so that you have less likelihood of gapeing if you
> raise your arms. I think it would be more comfortable since it would
> give the weight of the skirt more support.
> to create the yoke, you would make a fitted skirt at the waiste and hip
> (like a straight skirt) with a matching facing, no waistband, and the
> skirt itself would be gathered onto it.   it would take a lot of
> fiddling to get the skirt shaped right to match the dip in the lower
> edge of the yoke, but it would be easier than what you have drawn, since
> it would be more stable and not so likely to slip around on you.
>
>
> Bjarne og Leif Drews wrote:
> >
> > Hi,
> > I posted this for another list: lumieres as well. Some person claimed
that
> > cartridge pleating was not 18th century, but i dont know where he has
his
> > documentation from.
> > I posted this for you to se. The second portrait clearly shows that
> > cartridge pleating was used to make the fabric go over the hoop in the
> > sides.
> > The last drawing shows how i would make the shaped waistband. This way i
> > could get the skirt to fit the bodice very closely, and that is my aim.
> > http://www.my-drewscostumes.dk/waistband
> >
> > Bjarne
> >
> > Leif og Bjarne Drews
> > www.my-drewscostumes.dk
> >
> > http://home0.inet.tele.dk/drewscph/
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From h-costume-bounces@indra.com  Wed May 26 14:43:50 2004
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Sorry for being a pestilense with this, but if you take a look at this
portrait:
http://www.my-drewscostumes.dk/es1eng.htm
You clearly sees a thin waistband round the bodice!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] waistbands for skirts
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In a message dated 5/26/04 1:42:49 PM Central Daylight Time, 
drewscph@post12.tele.dk writes:
Sorry for being a pestilense with this, but if you take a look at this
portrait:
http://www.my-drewscostumes.dk/es1eng.htm
You clearly sees a thin waistband round the bodice!

Bjarne


What I see in that portrait looks more like piping around the bottom edge of 
the bodice, but that's JMO.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Hi,
Interresting you say that, on Sophia Magdalenas wedding dress bodice there
is a silk cord round the waist. So this would perhaps be a common thing to
do.
And guess what. All my considerations are solved, because i tryed to
meassure round my bodice at the place where i want the skirt to go, guess
what? It is the smallest meassure precisely where the skirt is going!!!!!!
So all my troubbles are over. The skirt wont slit down from the hips, simply
because the bodice is broader beneath the skirt line................

Bjarne

----- Original Message ----- 
From: <Tiffsewsstuff@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, May 26, 2004 8:46 PM
Subject: Re: [h-cost] waistbands for skirts


> In a message dated 5/26/04 1:42:49 PM Central Daylight Time,
> drewscph@post12.tele.dk writes:
> Sorry for being a pestilense with this, but if you take a look at this
> portrait:
> http://www.my-drewscostumes.dk/es1eng.htm
> You clearly sees a thin waistband round the bodice!
>
> Bjarne
>
>
> What I see in that portrait looks more like piping around the bottom edge
of
> the bodice, but that's JMO.
>
> -Tiffany
> Non vestimentum virum ornat, sed vir vestimentum.
> *******************************
> Reflections*of*Worth
> http://stores.ebay.com/Reflections-of-Worth
> _______________________________________________
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To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10405252144000.26282-100000@shell.nightowl.net>
Subject: Re: [h-cost] OT weather  was: Lion in Winter DVD
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So I don't suppose this is the time to complain that it's only been in the
high 70's with cool breezes.  Which is on the cool side for here in
California.

Stephen Bergdahl

"They moved the Oscars to Sunday, it'll still end on Monday."

    Billy Crystal.

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 7:53 PM
Subject: Re: [h-cost] OT weather was: Lion in Winter DVD


>
> On Tue, 25 May 2004, otsisto wrote:
>
> > Yesterday a tornado touched down in Linn, MO which is north of me. We
> > got hit pretty hard last night through this morning into the afternoon
> > with thunderstorms. My back yard is lowest in the neighborhood so now
> > I have a bog working it's way towards a Florida style swamp. :P We're
> > suppose to get a break Wed. and it starts up again Thurs. to Sat. Well
> > as they say, we live in the state of misery, right next to the state
> > of ill noise. :)
>
> I'm a bit east of you in Misery -- I mean, Missouri -- and by the time
> those storms got here, they were dumping marble-sized hail. The hailstones
> (and the leaves they brought down) clogged a drain behind our house,
> leading the water to back up into our basement. I spent the afternoon
> shifting boxes out of harm's way ... in the dark, because the power was
> out. (My 10-year-old held the flashlight, and we both went squitch squitch
> over the cold wet carpet, barefoot).
>
> I am happy to report that the fabric stash was on the dry side of the
> basement, and appears to have escaped; the damp is still creeping through
> the carpet, but I've moved everything up and over and am keeping close
> watch. My husband's office took most of the brunt. Now my worry is mildew.
>
> There was a waterfall and a pond in the back yard (a landscaping
> surprise!), and the house has so many new leaves stuck to the outside
> walls it looks like patterned wallpaper. My nasturtiums were hacked to
> pieces.  The garage has an inch of standing water.  Still, after seeing
> the downed trees (some on roofs and houses) a few roads over, we feel
> lucky. And even that is nothing compared to what's been happening in
> Nebraska and Iowa.
>
> --Robin
>
>
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Subject: Re: [h-cost] waistbands
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Oh, I see.   yeah, you would think that the state clothing would have been
preserved, given our love of museums and stuff wouldn't you?   I always
wonder what ever happened to all that fabric and elegant stuff, you would
think it would never wear out.  I hope you figure it out.   Kitty

> Dear Kitty.
> Yes i thoaght about doing something like that.  I intended to make some
> sewed buttonhole bars just over where the tabs starts on the bodice, and
> then i would sew on some hooks to the skirt so that it keeps the curves
> at the hips and that it wont slit down.
> The big question is how did they do it back in 18th century. I keep on
> reading that the courtdress was split up in bodice and skirt, and the
> example of Sophia Magdalenas wedding dress and her coronation dress is
> seperate bodice and skirt. But sometimes i wonder if some examples could
> have ben made up with sewed on skirt to the bodice. At least at the
> hips!
>
> This is very difficult matter!
>
> Bjarne
>
> ----- Original Message -----
> From: "Kitty Felton" <basyefelton@floodcity.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, May 26, 2004 6:06 PM
> Subject: Re: [h-cost] waistbands
>
>
>> it looks like you want your skirt to ride on the hips in back and on
>> the pelvis in front?   are you going to use hooks and eyes to keep it
>> together with the bodice?
>>
>> Might I suggest that you instead create a yoke which comes to the
>> waist and dips in the front so that you have less likelihood of
>> gapeing if you raise your arms. I think it would be more comfortable
>> since it would give the weight of the skirt more support.
>> to create the yoke, you would make a fitted skirt at the waiste and
>> hip (like a straight skirt) with a matching facing, no waistband, and
>> the skirt itself would be gathered onto it.   it would take a lot of
>> fiddling to get the skirt shaped right to match the dip in the lower
>> edge of the yoke, but it would be easier than what you have drawn,
>> since it would be more stable and not so likely to slip around on you.
>>
>>
>> Bjarne og Leif Drews wrote:
>> >
>> > Hi,
>> > I posted this for another list: lumieres as well. Some person
>> claimed
> that
>> > cartridge pleating was not 18th century, but i dont know where he
>> has
> his
>> > documentation from.
>> > I posted this for you to se. The second portrait clearly shows that
>> cartridge pleating was used to make the fabric go over the hoop in
>> the sides.
>> > The last drawing shows how i would make the shaped waistband. This
>> way i could get the skirt to fit the bodice very closely, and that
>> is my aim. http://www.my-drewscostumes.dk/waistband
>> >
>> > 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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>>
>
>
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Subject: [h-cost] Briseis: Troy - I have an idea
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>From: "Susan Carroll-Clark" <nicolaa@rogers.com>
>I quite enjoyed it. I liked the fact that they didn't completely change all
>the characters to suit Hollywood (despite them having to find a girlfriend
>for Achilles and have him die at the wrong time).

They -changed- the character of Briseis considerably, but they didn't have 
to look really very hard to "find" her.  The whole bickering back and forth 
between Achilles and Agamemnon over her is generally in the story.

I'm pretty sure that he died after the death of Hector, which comes at the 
end of the Illiad :)    Heck he was even shot by Paris :)

Marc

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Subject: Re: [h-cost] King Arthur was: RE: Troy - I have an idea
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> Oh I agree. But "Arthur" bills itself as the true story behind the myth.

Which true story? The one written by that English historian trying to make
English history descend from the Greeks and Romans? That was before the
Arthurian legend we know of, and AFAIK he didn't base his history on any
serious fact, and everything else since was based on that supposed "history
of the English people" or whatever it was called.

There IS no true story behind the myth. Only theories of what might have
been the inspirations of the guy who wrote the history of England somewhere
in the 10th? 12th? century...
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From: "Susan Carroll-Clark" <nicolaa@rogers.com>
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References: <BAY17-F401YfqUak9Uw000b413d@hotmail.com>
Subject: Re: [h-cost] Briseis: Troy - I have an idea
Date: Wed, 26 May 2004 18:16:37 -0400
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Greetings--

> They -changed- the character of Briseis considerably, but they didn't have
> to look really very hard to "find" her.  The whole bickering back and
forth
> between Achilles and Agamemnon over her is generally in the story.

Yep, she's in there.  Not so much as a love interest, though, which is where
the girlfriend part comes in.  The deep bonds of affection involving
Achilles in the Iliad involve Patroclus.  I was happy to see they at least
had him in there and that they were obviously close, and that Patroclus did
die wearing Achilles' armour.

> I'm pretty sure that he died after the death of Hector, which comes at the
> end of the Illiad :)    Heck he was even shot by Paris :)

But of course, the horse episode is not in the Illiad. I think Achilles is
gone by the time Troy is finally taken.

Susan

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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] King Arthur
Date: Wed, 26 May 2004 17:24:56 -0500
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 I believe the story is only "true" as far as being set in the 5th-6th
century where there are one or two candidates that may have been the
original leaders of the time that evolved into the legend of King Arthur. I
remember reading recently in Entertainment Weekly that the director had to
coax the costume designer into designing at least one costume for Guineuer
that showed off the actresses midriff--Got to give those 12-13 year-old boys
that are supposed to be the biggest sector of the movie-going public eye
candy, I suppose as authentic 5th-6th century Brit costume recreations
wouldn't be putting those production values up onscreen and it never has
been.

Alas, not too many "costume dramas" up on the big screen this summer to
critique--and Vanity Fair and Sky Captain and the World of
Tomorrow(30's-inspired costumes)won't be out til Sep.

Cindy Abel

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-----Original Message-----
I predict a lot more blue face paint at Ren-fest this fall.


Not to mention chain mail bikinis, God help us.

-Tiffany

Probably leather strip bikinis and macronaed to look like leather bikinis.
:)

De

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In a message dated 5/26/2004 7:12:35 PM Eastern Standard Time, 
otsisto@socket.net writes:

> I predict a lot more blue face paint at Ren-fest this fall.
> 
> 
> Not to mention chain mail bikinis, God help us.
> 
> -Tiffany
> 
> Probably leather strip bikinis and macronaed to look like leather bikinis.
> :)
> 

I envision a couple of years from now this "CLEARANCE CLOTHING: prices 
slashed!" booth with dozens of leather macramé bikinis... and red beaded "Jump" 
dresses... and "Gandolf the Grey" robes....
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on 5/26/04 Albert Cat wrote:

> Oh I agree. But "Arthur" bills itself as the true story behind the myth.
> 
> Yeah....right.

When a movie bills itself as the "true story behind the myth," I rank it
right up with movies of books that use the author's name, ie: "Bram Stoker's
Dracula." You just know the movie will have no relation to either.

On a funny note . . . did you know that the comedy movie "Mafia" was
originall called "Jane Austin's Mafia"? All the Jane Austin movies were in
vogue, and of course the name was hilarious, but the Hollywood types thought
people wouldn't get it. Oh well.

Gail Finke

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>>> AlbertCat@aol.com wrote:
>>> 
>>>> And then there's the previews. "Arthur.....the truth behind the myth"
>>>> 
>>>> HAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!! You should see what they are
>> 
>> wearing!
>> 
>>> http://movies.yahoo.com/movies/feature/kingarthur.html
> 
> 
I couldn't hold out any longer. I looked. Yipes! I guess the "strappy" look
was in that year for armor.

Gail Finke

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Subject: [h-cost] Pleating
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What's the difference between organ-pleating and cartridge-pleating. I 
thought that they were the same.

Katie


>  The skirts that Cranach paints are organ-pleated, but I've seen many 
> Cranach-style dresses constructed with cartridge pleats, padded cartridge 
> pleats, and a host of other styles of pleating.



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Wouldn't this result in something much like a yoked skirt? It seems to me 
that if one built something similar to a yoked skirt, fit to the waistline 
but with the pleating beginning further down, one wouldn't have extra 
fabric bunching up under the lower part of the bodice, giving a slimmer 
shape. Or am I not seeing this correctly? I'm certainly not suggesting that 
it would be period.

Katie

>I had a skirt once with a Very wide waistband seven or eight
>inches.   it wasn't even shaped, it was basically a rectangle attached to
>the skirt.   now according to the pics we were seeing, a very wide
>waistband on a victorian corseted figure should be fitted to the figure,
>but probably wouldn't if it was a standard inch to inch and a half
>waistband.



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<Delurk mode>
Hi
Something to consider:
Most Greek artwork depicting the Trojan War are from the classic era.  
The Trojan war is bronze age.  The fashion was completely different, 
more minoan in style.  I can dig up my class notes if anyone wants more 
info.  I did several reaserach projects in college on bronze age greece 
(but that was... 15+ years ago)
<Lurk mode>
Karolee Smiley

Linda Walton wrote:

>The only illustration I can find to hand in a hurry is of an early 5th
>century Attic red-figure cup in the Louvre (G115).  It shows the duel
>between Ajax and Hektor at Troy, with Athene supporting Ajax and Apollo
>supporting Hektor.
>
>Ajax has a complicated outfit, including lots of armour and what looks like
>two kilts - one shorter than the other - with handkerchief points and lots
>of narrow pleats.  Hektor the Trojan is completely naked, except for a
>Greek-style helmet, sword and round shield, and his scabbard - which is hung
>from a long strap over one shoulder.  This very narrow strap seems to have a
>couple of short tassels hanging at either side where it crosses his abdomen.
>Nothing else at all.
>
>So - who played Ajax in the film?  Was he dressed as this Greek cup imagines
>him?  Would the audience have wanted to see that?
>
>Linda Walton,
>(in High Wycombe, Buckinghamshire, U.K.,
>who thinks she may have to get round to seeing this film after all . . .).
>
>_______________________________________________
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>  
>

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Subject: [h-cost] More 1930s costume movies
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Ok, so no one is keen on the costumes in "King Arthur" (except maybe the
aforementioned 12 year old boys) -

But can anyone speak to whether the over-the-top 1920s-30s costumes in
"Bright Young Things" or "De-Lovely" were correct - or indeed, can anyone
speak to whether the movies are any good at all? I've only recently seen the
trailers and thought they were new, but IMDB gives the impression that
they're both already out - and somehow skipped my local theater entirely :(

Allison T.

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From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives
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Thanks so much Lisa.  I think this may help me find the info for my friend's
daughter.

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

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

----- Original Message ----- 
From: "Lisa A Ashton" <lisa58@juno.com>
To: <h-costume@indra.com>
Sent: Sunday, May 23, 2004 9:08 PM
Subject: Re: [h-cost] Holbein's portraits of Henry VIII wives


> Try Antonia Fraser's book "The Wives of Henry VIII".  There are all the
> famous portraits (in color), plus other less-famous portraits of them,
> plus it is about the best book I"ve read on the subject.  Fraser is
> amazing.  The recent History channel mini-series about Henry VIII and his
> wives by that British so-called historian was crap, I don't think they
> even got the costumes right.  They certainly didn't get the hair color
> right!
>
> This is one of my favorite time periods, having just completed a
> historical reproduction of the dress that Mary Tudor is wearing in her
> famous wedding portrait with Charles Brandon.  I believe that there will
> at some point be photos up on the Costume-Connections website for CC22 in
> Atlanta this past April, the Historical MAsquerade.
>
> Yours in costuming, Lisa A.
>
> ________________________________________________________________
> The best thing to hit the Internet in years - Juno SpeedBand!
> Surf the Web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
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From h-costume-bounces@indra.com  Wed May 26 22:57:47 2004
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] RE: Troy - I have an idea
Date: Wed, 26 May 2004 22:55:55 -0400
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Greetings--

> Most Greek artwork depicting the Trojan War are from the classic era.
> The Trojan war is bronze age.  The fashion was completely different,
> more minoan in style.

Of course, Homer was writing much closer to the classical period than he was
to the Bronze Age.  I suspect he probably described clothing and armor in
the terms he was familiar with.

Dark ages Greece.  Now there's a REAL "dark age" for you....

Susan
fondly remembering my Bronze Age Greece class as an undergrad

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From h-costume-bounces@indra.com  Wed May 26 23:18:00 2004
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From: Kitty Felton <basyefelton@floodcity.net>
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LOL, what I had was a waistband that went from the waist clear up to my
bosom.  Don't ask me, I was 15 at the time and it was a hand me down. 
if I didn't have a long waist, it would have come up to my armpits, I
guess.   
	Remember a skirt usually comes up to the waist and the waistband isn't
centered on the waist, it comes down TO the waist to meet the skirt.    
if it was below the waist and was fitted it would be a yoke, if a narrow
band that lay on the hip, I suppose it would be a hip band.  
 

Katie Pleasance wrote:
> 
> Wouldn't this result in something much like a yoked skirt? It seems to me
> that if one built something similar to a yoked skirt, fit to the waistline
> but with the pleating beginning further down, one wouldn't have extra
> fabric bunching up under the lower part of the bodice, giving a slimmer
> shape. Or am I not seeing this correctly? I'm certainly not suggesting that
> it would be period.
> 
> Katie
> 
> >I had a skirt once with a Very wide waistband seven or eight
> >inches.   it wasn't even shaped, it was basically a rectangle attached to
> >the skirt.   now according to the pics we were seeing, a very wide
> >waistband on a victorian corseted figure should be fitted to the figure,
> >but probably wouldn't if it was a standard inch to inch and a half
> >waistband.
> 
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As of Saturday night the town of Hallam, NE isn't anymore. (about 25 miles 
SW of us, population about 300)  Also, a rural school district near there 
lost most of its infrastructure - high, middle, and elementary school 
buildings, a greenhouse, and the bus barn full of buses.  School had let 
out for the year the day before, but they probably won't be able to 
complete repairs before next year starts.

On a happier note, while a horse barn in the area was destroyed, the 24 
purebred Arabians inside escaped with only minor injuries, save one with a 
broken leg.  Just goes to show how unpredictable tornadoes are.

Pierre and Sandy


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

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

Andromeda  


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] OT weather  was: Lion in Winter DVD
Date: Wed, 26 May 2004 23:41:19 -0500
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My husband told me about the Linn tornado and said north. We are actually
north of Linn.
Today was suppose to be a day of no rain, so much for that hope. Rained on
and off. At least it didn't down pour and flood the basement again.
We normally have a dehumidifier running so that helps. I spray the carpet
with Lysol or Clorox spray and periodically shopvac that area to dry it
faster. I spray shampoo the rug when it is very damp to dry.
My fabric is up and out of reach.

De

-----Original Message-----
On Tue, 25 May 2004, otsisto wrote:

> Yesterday a tornado touched down in Linn, MO which is north of me. We
> got hit pretty hard last night through this morning into the afternoon
> with thunderstorms. My back yard is lowest in the neighborhood so now
> I have a bog working it's way towards a Florida style swamp. :P We're
> suppose to get a break Wed. and it starts up again Thurs. to Sat. Well
> as they say, we live in the state of misery, right next to the state
> of ill noise. :)

I'm a bit east of you in Misery -- I mean, Missouri -- and by the time
those storms got here, they were dumping marble-sized hail. The hailstones
(and the leaves they brought down) clogged a drain behind our house,
leading the water to back up into our basement. I spent the afternoon
shifting boxes out of harm's way ... in the dark, because the power was
out. (My 10-year-old held the flashlight, and we both went squitch squitch
over the cold wet carpet, barefoot).

I am happy to report that the fabric stash was on the dry side of the
basement, and appears to have escaped; the damp is still creeping through
the carpet, but I've moved everything up and over and am keeping close
watch. My husband's office took most of the brunt. Now my worry is mildew.

There was a waterfall and a pond in the back yard (a landscaping
surprise!), and the house has so many new leaves stuck to the outside
walls it looks like patterned wallpaper. My nasturtiums were hacked to
pieces.  The garage has an inch of standing water.  Still, after seeing
the downed trees (some on roofs and houses) a few roads over, we feel
lucky. And even that is nothing compared to what's been happening in
Nebraska and Iowa.

--Robin


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Subject: RE: [h-cost] King Arthur was: RE: Troy
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LOL!
De

-----Original Message-----
I envision a couple of years from now this "CLEARANCE CLOTHING: prices
slashed!" booth with dozens of leather macramé bikinis... and red beaded
"Jump"
dresses... and "Gandolf the Grey" robes....

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Subject: [h-cost] King Arthur
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>
>In a message dated 5/25/04 11:27:06 PM Central Daylight Time,
>dawn@reddawn.net writes:
>I predict a lot more blue face paint at Ren-fest this fall.
>
>
>Not to mention chain mail bikinis, God help us.
>
>-Tiffany

Our most recent faire, in addition to chain mail bikinis, had a couple of
gals wearing one whole rabbit skin.  Most of it went into the bottom with a
couple of poofs for the top...and she was skinny with a little belly.


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] King Arthur
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>Our most recent faire, in addition to chain mail bikinis, had a couple of
>gals wearing one whole rabbit skin.  Most of it went into the bottom with a
>couple of poofs for the top...and she was skinny with a little belly.

We used to call this the "two frightened squirrels" school of barbarian
costuming.  But at least some breeds of bunny are on the large side.

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

             //// \\\
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Subject: Re: [h-cost] Garb question
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----- Original Message -----
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 8:30 AM
Subject: [h-cost] Garb question


> Thank you.
> I had found not to long back a site that showed their interpretation of
the
> garment. I guess if I find it back I find it back.
> Thank you again, much appreciated.
> De
>
<snip>

If you want a pattern for a men's Waffenrock Kass McGann
(www.reconstructinghistory.com click on the patterns section) is planning on
releasing a commercial pattern for this sometime very soon (IIRC it's in her
coming soon section and is due to be released May 2004, *g* which means it
shouldn't be too long) I'm very tempted by her pattern for the Effigy corset
but first I've got to pay my mum back for my last SCA related mail order
from the USA. If you're interested in authenticity Kass is a good person to
go to she is a fabulous resource on all things textile related and I presume
her patterns reflect her levels of expertise and interest in authenticity
(I'm not affiliated, not even a customer, I just share a yahoogroup and have
seen her level of expertise in answering questions from the group).
If you're not interested in buying a pattern I've been told the German Ren
costuming yahoogroup is a good resource, hopefully somebody else can give
you their address as I've found searching Yahoo for a particular group to be
next to useless.
HTH
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
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The years that a woman subtracts from her age are not lost. They are added
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Diane de Poitiers (1499-1566) Attrib.

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Subject: Re: [h-cost] Yet another bodice question
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----- Original Message -----
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 25, 2004 2:07 PM
Subject: [h-cost] Yet another bodice question


> Here's another bodice question for those of you who know what you are
doing
> far better than I.   :-)
>
> I have loved this painting ever since I first found it:
> http://costume.dm.net/gallery/1569.html
>
> Now for the dangerous part. :-)  I just found today some gorgeous orange
> fabric *and* some embroidered fabric that resembles her shirt. (my resolve
> to not buy any more fabric until I finish at least a couple of other
> projects is rapidly crumbling)
>
> My question is: would the young lady be wearing just a corset beneath her
> bodice, or would her bodice be boned as well? If you look closely at the
> picture, you can see the lacing of her shirt/partlet through the gap in
her
> bodice, but you can't tell if there is a corset there. ( which could be
> explained by her wearing her shirt/partlet over it) Also, the bodice
itself
> seems to be somewhat stiff, as it looks like it stands away from her
> bustline.

A lady in my Barony who was recently Laureled for her research into Venetian
costume (which has front lacing with something that looks like a gathered
chemise showing through the gap) suggests that there may be two chemises
worn. One is essentially a tube shape (possibly with gores below the waist
for movement) with thin shoulder straps and no sleeves. The seccond chemise
is the classic Italian gathered chemise you see in all those paintings
recently discussed over whether they were drawstring or not and is worn over
the corset. She has an article on her Venetian underwear here
http://members.optusnet.com.au/oonaghsown/gruesome_truth.htm This is of
course just one opinion on how it was done, we certainly have evidence for
faked puffs of chemise in other places so there's no reason to believe this
could not also have been the case here. Any way back onto the topic of
English fashions in this picture you can clearly see another chemise (or
possibly the corset) the decorative partlet/shirt is open  from the ruff to
a bit lower than her bodice in that gap you can see a horizontal line a bit
above the top of the bodice It could be something else but I'm guessing it's
probably a square necked chemise. The bodice does look like it has boning
(at least along the front opening), but there's almost certainly a corset
underneath there as well.

>
> Up to this point I have only dabbled my toes into the later period
garments,
> (usually I do Near Eastern and early period clothing) I have yet to
properly
> finish a full gown for fear of Getting It Wrong. This dress seems to want
to
> get itself made, and I need all the help I can get.  :-)
> Sheridan

If you make a mock up of the fitted parts in cheap fabric first, there's not
much that can go wrong, and even less that can't be fixed. If you're really
woried buy a little extra and even if you do something like forget to add
seam allowances you've got a bit left over to patch it up with. I felt the
same way about 16th century garb until I gave up worrying and did it, then I
found out it's not as hard as I thought.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
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Subject: Re: [h-cost] Simplicity's corset patterns
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----- Original Message -----
From: "Maura Folsom" <jauncourt@verizon.net>
To: <h-costume@indra.com>
Sent: Wednesday, May 26, 2004 2:04 PM
Subject: RE: [h-cost] Simplicity's corset patterns


<snip> Design 7215, the gusseted stays, I have seen but not tested. It's a
very
> period design, and looks comparable to Past Patterns #'s 708 and the
> shorter stay in 002. It is by the same designer as 9769, so I expect it
> is as well researched and patterned. This style is definitely more
> suited to buxom bustlines, but it is harder to assemble.
> Just because it's from a "Big Three" company doesn't mean it's garbage.
> Maura

Yep I just bought this one (7215) and it definitely has a strong resemblance
to the corset design in a 1830s book called the workman's guide. My
apologies if I got the title or date wrong, but I'm trying to remember a
reference in Norah Waugh's Corsets and Crinolines and I don't have it with
me.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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From: Freyalynn Close-Hainsworth <freyalynn@yahoo.com>
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Subject: [h-cost] Re: Troy
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The various stories and poems that were organised/collated by a poet or poets called Homer at some point around the 6thC BC were part of a remarkably well preserved collection of oral tales from the Bronze Age.

One particular thing that leaps to mind (I, too, did Bronze Age Greece as part of my archaelogy degree) was they Homer makes specific reference to "boars' tusks helmets".  Nothing resembling a helmet shaped or made of boars' tusks has been found connected to Classical Greece, but there has been found, in a Bronze Age site on mainland Greece, the remains of a helmet made of split boars' tusks.  And of course, Pylos, the palace of King Nestor, no longer existed as a building or a kingdom by the Classical era.

The Bronze Age costumes probably resembled Minoan more than anything, and bare breasts all through the film would have bumped the certificate right up.

But Homer and his audience probably regarded the Trojan War as historical legend or legendary history, bearing in mind that the Achaeans of the Bronze Age had been a different race of people, and had been invaded and superceded by the Dorians who became the Classical Greeks.

Myth is not history,much as we'd like it to be.  When you think how the plays of Shakespear have costumed Caesar, Troilus, Theseus et al, we can only sit back and regard any film costumers' take with detachment, pausing only to be grateful at the odd nod towards 'authenticity'.

Freyalyn

		
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Subject: RE: [h-cost] Yet another bodice question
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-----Original Message-----
Any way back onto the topic of
English fashions in this picture you can clearly see another chemise (or
possibly the corset) the decorative partlet/shirt is open  from the ruff to
a bit lower than her bodice in that gap you can see a horizontal line a bit
above the top of the bodice It could be something else but I'm guessing it's
probably a square necked chemise. The bodice does look like it has boning
(at least along the front opening), but there's almost certainly a corset
underneath there as well.

------------
My theory is that she has a partlett and detachable sleeves with the floral
pattern and that the line seen is the chemise. She would have a corset but I
do not believe she has boning in the bodice. It is hard to tell what is seen
in the bodice gap.

My two cents
De

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Greetings--

> The various stories and poems that were organised/collated by a poet or
poets called Homer at some point around the 6thC BC were part of a
remarkably well preserved collection of oral tales from the Bronze Age.
>
> One particular thing that leaps to mind (I, too, did Bronze Age Greece as
part of my archaelogy degree) was they Homer makes specific reference to
"boars' tusks helmets".  Nothing resembling a helmet shaped or made of
boars' tusks has been found connected to Classical Greece, but there has
been found, in a Bronze Age site on mainland Greece, the remains of a helmet
made of split boars' tusks.  And of course, Pylos, the palace of King
Nestor, no longer existed as a building or a kingdom by the Classical era.>

The thing you have to keep in mind with all tales that circulated orally is
that they do tend to pick up some details along the way that aren't
necessarily true to the original period, but that other details might
survive.  For instance, the boars' tusks helmets may have survived because
they were considered an important detail.  Place-names are another good
example. To figure out everything completely, you need to compare the legend
with the archaeology.

On the topic of the clothing--I'm curious:  How sure are we that the
bare-breasted Minoan fashions were the common mode of clothing for everyone?
I seem to remember a debate about whether they were ceremonial-type clothing
for certain religious figures and the bull jumpers, or something everyone
wore.  Anyone know?

On a related note for Bronze Age fans--one of the best depictions I've ever
seen of a Bronze Age Greek building is in _Time Bandits_. I remember just
about falling out of my chair that someone had actually researched the
things and put one in the movie.

Susan

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What's she basing *that* on? The Bohemian Bath Babes? Or just 
expediency? Is there a sleeveless shift out there I'm not aware of? :o)
I'm also a bit confused by your reference to the "classic Italian gather 
chemise," since the ones we've been talking about recently don't have 
that high neckline/collar going on.
I've always wanted to do this gown myself, although I've always thought 
of the fabric as red, not orange.  I'd figured the two-shift arrangement 
probably comprised a basic-square necked shift with narrow (tube) 
sleeves, and a decorative partlet or shift, with the embroidery, fancier 
sleeves and high-necked collar.
Always figured the puffs on the shoulder rolls had to be faked, 
especially since they're plain white and have no sign of embroidery.
--sue, who thinks she'll actually do the gown in blues, with the 
embroidered flowers as columbines.....

Elizabeth Walpole wrote:

> A lady in my Barony who was recently Laureled for her research into Venetian
> costume (which has front lacing with something that looks like a gathered
> chemise showing through the gap) suggests that there may be two chemises
> worn. One is essentially a tube shape (possibly with gores below the waist
> for movement) with thin shoulder straps and no sleeves. The seccond chemise
> is the classic Italian gathered chemise you see in all those paintings
> recently discussed over whether they were drawstring or not and is worn over
> the corset. She has an article on her Venetian underwear here
> http://members.optusnet.com.au/oonaghsown/gruesome_truth.htm This is of
> course just one opinion on how it was done, we certainly have evidence for
> faked puffs of chemise in other places so there's no reason to believe this
> could not also have been the case here.


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I'm very amused by the knowledge that there are a bunch of us closet
Mycenean aficionados on the list. I, too, love Bronze Age Greece. One of
my favorite wastes of my parents' hard earned money in college was the
course I took on 'Greek Sanctuaries' which examined the development of
Greek religious architecture from the first identifiable temple building
in the Neolithic all the way thru the Acropolis. A minor in Cultural
Anthropology made the prefect excuse to study any number of really
useless topics!


Karen

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How do I get changed to digest mode? I'm going to be
away from my computer for a week.

Catalina

=====
Catalina
Aurum peccamenes multifariam texit


	
	
		
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In a message dated 5/27/04 8:15:39 AM Central Daylight Time, 
mooncat@in-tch.com writes:
Is there a sleeveless shift out there I'm not aware of? :o)


I gotta say that after viewing the page at 
http://members.optusnet.com.au/oonaghsown/gruesome_truth.htm 

I'm a little on the questioning side regarding some of the conclusions she 
came to as well.  

For example, the plate that she uses as evidence for her spaghetti strap 
chemise is, in my opinion, neither of a sleeveless chemise, nor is it from the 
period that she is attempting to recreate.  It looks to me to be 14th or early 
15th century at the very latest, judging by the clothes of both the people in 
the drawing.  And what the lady is wearing looks to me to be a chemise or 
underdress with long, fitted sleeves (note the cuffs at her wrists), with a very 
standard surcoat over it.

The next picture on the page, which is supposed to support the idea of an 
underskirt, I would also interpret differently.  The lady on the right appears to 
me to be wearing a chemise with a corset over it, and no dress at all; and 
the tealy-turquoise drape seen peeking from under her doesn't necessarily look 
like it's attached to her at all.  It could be simply draping that was added by 
the artist for color; I don't see anything that would indicate to me that it 
is conclusively (or, frankly, even possibly) an underskirt worn by the 
subject.  I'm not saying that underskirts were not worn, but I think this particular 
painting is not a good example of it.

Her costumes are lovely, and she's done an excellent job of reproducing the 
look and styles in the portraits.  However, I definitely think that it is not 
indicative that anyone wore sleeveless or tank-style chemises in-period.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
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If you go to the web site listed at the bottom of each list message:
        http://mail.indra.com/mailman/listinfo/h-costume
you can access all admin functions.

Go to the very last box on the bottom, where it says "To change your
subscription (set options like digest and delivery modes, get a
reminder of your password, or unsubscribe), enter your subscription
email address:"

Enter your email address, and hit 'edit options'.  You will then see a
new page which shows you your personal configurations, and allows you
to unsubscribe, change to or from digest, set yourself 'no mail', and
other options.  You must enter your password for these to take effect,
so there's a box at the top to have the password mailed to you if you
need it.


						...eliz

-- 
"It seemed so clear to me - once I'd wised up to the idea that life is
not a straight road with no exit ramps - that life presented
opportunities all along the way for a person to change directions."
                                                - Alice Steinbach

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In a message dated 5/27/04 1:24:26 AM Central Daylight Time, jtknits@cts.com 
writes:
Our most recent faire, in addition to chain mail bikinis, had a couple of
gals wearing one whole rabbit skin.


Rabbit fur as a costume has always baffled me.  Seems as though the shedding 
would make it quite miserable and itchy.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
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Date: Thu, 27 May 2004 07:33:59 -0700
Subject: Re: [h-cost] Re: Troy
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Greetings,
Working on a paper for school, I came across this article:
Alden, Maureen. "Ancient Greek Dress." Costume ( 2003): 37: 1-16

It has an extensive list of garment definitions from ancient writings.

Althea

On Thursday, May 27, 2004, at 02:25 AM, Freyalynn Close-Hainsworth 
wrote:

>
> The various stories and poems that were organised/collated by a poet 
> or poets called Homer at some point around the 6thC BC were part of a 
> remarkably well preserved collection of oral tales from the Bronze > Age.
>
> One particular thing that leaps to mind (I, too, did Bronze Age Greece 
> as part of my archaelogy degree) was they Homer makes specific 
> reference to "boars' tusks helmets".  Nothing resembling a helmet 
> shaped or made of boars' tusks has been found connected to Classical 
> Greece, but there has been found, in a Bronze Age site on mainland 
> Greece, the remains of a helmet made of split boars' tusks.  And of 
> course, Pylos, the palace of King Nestor, no longer existed as a 
> building or a kingdom by the Classical era.
>
> The Bronze Age costumes probably resembled Minoan more than anything, 
> and bare breasts all through the film would have bumped the 
> certificate right up.
>
> But Homer and his audience probably regarded the Trojan War as 
> historical legend or legendary history, bearing in mind that the 
> Achaeans of the Bronze Age had been a different race of people, and 
> had been invaded and superceded by the Dorians who became the 
> Classical Greeks.
>
> Myth is not history,much as we'd like it to be.  When you think how 
> the plays of Shakespear have costumed Caesar, Troilus, Theseus et al, 
> we can only sit back and regard any film costumers' take with 
> detachment, pausing only to be grateful at the odd nod towards 
> 'authenticity'.
>
> Freyalyn
>
> 		
> ---------------------------------
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From h-costume-bounces@indra.com  Thu May 27 10:51:21 2004
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I don't think they did wear a seperate corset at all.
If you look at paintings of that time with front closure you can see 
that the edges are very thick like the bodice is made of more stiffened 
layers.
That wil work as a corset.
So there is no need of a sleevles chemise.

Greetings,
        Deredere


Tiffsewsstuff@aol.com wrote:

>In a message dated 5/27/04 8:15:39 AM Central Daylight Time, 
>mooncat@in-tch.com writes:
>Is there a sleeveless shift out there I'm not aware of? :o)
>
>
>I gotta say that after viewing the page at 
>http://members.optusnet.com.au/oonaghsown/gruesome_truth.htm 
>
>I'm a little on the questioning side regarding some of the conclusions she 
>came to as well.  
>
>For example, the plate that she uses as evidence for her spaghetti strap 
>chemise is, in my opinion, neither of a sleeveless chemise, nor is it from the 
>period that she is attempting to recreate.  It looks to me to be 14th or early 
>15th century at the very latest, judging by the clothes of both the people in 
>the drawing.  And what the lady is wearing looks to me to be a chemise or 
>underdress with long, fitted sleeves (note the cuffs at her wrists), with a very 
>standard surcoat over it.
>
>The next picture on the page, which is supposed to support the idea of an 
>underskirt, I would also interpret differently.  The lady on the right appears to 
>me to be wearing a chemise with a corset over it, and no dress at all; and 
>the tealy-turquoise drape seen peeking from under her doesn't necessarily look 
>like it's attached to her at all.  It could be simply draping that was added by 
>the artist for color; I don't see anything that would indicate to me that it 
>is conclusively (or, frankly, even possibly) an underskirt worn by the 
>subject.  I'm not saying that underskirts were not worn, but I think this particular 
>painting is not a good example of it.
>
>Her costumes are lovely, and she's done an excellent job of reproducing the 
>look and styles in the portraits.  However, I definitely think that it is not 
>indicative that anyone wore sleeveless or tank-style chemises in-period.
>
>-Tiffany
>Non vestimentum virum ornat, sed vir vestimentum.
>*******************************
>Reflections*of*Worth
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>  
>



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Hey there Tiffany...  I cannot comment of the specific time period that 
this lady is recreating,  but I can point to at least 3 italian and 4 
german resources that do show sleeveless or tank-style chemises 
in-period.  If you like I'll scrounge them up.
Bridgette

>>  However, I definitely think that it is not indicative that anyone wore 
>> sleeveless or tank-style chemises in-period.

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Subject: RE: [h-cost] sleeveless or tank-style chemises in-period
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Hey there Tiffany... I cannot comment of the specific time period that this lady is recreating, but I can point to at least 3 italian and 4 

german resources that do show sleeveless or tank-style chemises in-period. If you like I'll scrounge them up.

Bridgette>>

I'm not Tiffany, but I'd be interested in seeing what you have located. So far, the ones that I know of are the chemise shown in Kohler's book, the Bohemian Bath house Babes, and there is an Italian painting of one that I can't remember the name of, but it is in Padua and dated to 1376.

Colleen
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Adding my interest to the group.

There are also a late 14th cent. wall painting of Isolde in a castle near
Bolzano, in northern Italy, and an Austrian mid 15th cent. playing card with
a female potter.

>From what I've gathered, it seems as if this is a rather regional fashion.
All sources I've seen are from central europe. I haven't seen any images
from French or English sources.

Colleen, you wouldn't have a reference to the Padua painting? Is it online
somewhere?

/Lena


-----Original Message-----
From: Colleen McDonald [mailto:colleen.mcdonald@comcast.net]
Sent: 27 May 2004 16:19
To: Historical Costume
Subject: RE: [h-cost] sleeveless or tank-style chemises in-period


Hey there Tiffany... I cannot comment of the specific time period that this
lady is recreating, but I can point to at least 3 italian and 4 

german resources that do show sleeveless or tank-style chemises in-period.
If you like I'll scrounge them up.

Bridgette>>

I'm not Tiffany, but I'd be interested in seeing what you have located. So
far, the ones that I know of are the chemise shown in Kohler's book, the
Bohemian Bath house Babes, and there is an Italian painting of one that I
can't remember the name of, but it is in Padua and dated to 1376.

Colleen
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>>In a message dated 5/25/04 11:27:06 PM Central Daylight Time,
>>dawn@reddawn.net writes:
>>I predict a lot more blue face paint at Ren-fest this fall.
>>
>>Not to mention chain mail bikinis, God help us.
>>
>
>Our most recent faire, in addition to chain mail bikinis, had a couple of
>gals wearing one whole rabbit skin.  Most of it went into the bottom with a
>couple of poofs for the top...and she was skinny with a little belly.

I do hope that was one skin _each_ and not one for the two of them....

When I see such people at faire, I always hope that they have remembered to put on enough sunscreen. Otherwise they are likely to wind up with sunburns in a lot of very uncomfortable places....

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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From: "Colleen McDonald" <colleen.mcdonald@comcast.net>
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Subject: Re: [h-cost] sleeveless or tank-style chemises in-period
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<< Colleen, you wouldn't have a reference to the Padua painting? Is it
online
> somewhere?
> /Lena>>

I'm at work, so I don't have any of the information here and I don't
remember where I saw it at.  Could have been online or in a book - it was
after the exact period I was looking for, so I didn't register much in the
way of details.  I'm doing good to remember the place and the year.  (It's
been a rough week and the brain's a bit over-taxed.)

Colleen

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Date: Thu, 27 May 2004 08:58:33 -0700
To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] waistband for skirts
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Thanks for the vocabulary lesson.

Although I have made yoked skirts and skirts with narrow waistbands, I've 
never made a skirt with a wide waistband that has it's bottom at the 
waistline. My natural waist is right at the bottom of the rib cage and for 
me a waistband that ended at the waist would have to climb out and over 
that rib cage in order to go upwards. This would not be stable and the 
waistband would just fall back down to the natural waist. I guess my rib 
cage is too big at the bottom <g>. (I once knew a girl who's rib cage 
flared out at the bottom. She wore AAAAA shoes with an AAAAAAA heel! I 
guess my fitting problems aren't so bad after all <g>.)

Katie

At 11:13 PM 5/26/2004 -0400, you wrote:
>LOL, what I had was a waistband that went from the waist clear up to my
>bosom.  Don't ask me, I was 15 at the time and it was a hand me down.
>if I didn't have a long waist, it would have come up to my armpits, I
>guess.
>         Remember a skirt usually comes up to the waist and the waistband 
> isn't
>centered on the waist, it comes down TO the waist to meet the skirt.
>if it was below the waist and was fitted it would be a yoke, if a narrow
>band that lay on the hip, I suppose it would be a hip band.
>
>
>Katie Pleasance wrote:
> > Wouldn't this result in something much like a yoked skirt? It seems to me
> > that if one built something similar to a yoked skirt, fit to the waistline
> > but with the pleating beginning further down, one wouldn't have extra
> > fabric bunching up under the lower part of the bodice, giving a slimmer
> > shape. Or am I not seeing this correctly? I'm certainly not suggesting that
> > it would be period.



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] pannier/hoop petticoat 
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Dear list.
Almost finished the pannier frame for my courtdress. It needs the last
finishing touches. The hoops bones are not steel, but Wissners artificial
whaleboning. The cut of the pannier is my own and it is very steady and
stabil. It can take considerable weight. So when you make your pannier cut
good, it actually only needs light boning like Wissners.
http://www.my-drewscostumes.dk/estrup2.htm
Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Maybe we could look upon the sunburn as righteous punishment for 
inappropriate apparel?

Katie, who sometimes has evil thoughts ...


> >Our most recent faire, in addition to chain mail bikinis, had a couple of
> >gals wearing one whole rabbit skin.  Most of it went into the bottom with a
> >couple of poofs for the top...and she was skinny with a little belly.
>
>When I see such people at faire, I always hope that they have remembered 
>to put on enough sunscreen. Otherwise they are likely to wind up with 
>sunburns in a lot of very uncomfortable places....



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In a message dated 5/27/2004 8:24:34 AM Eastern Standard Time, 
nicolaa@rogers.com writes:

> Bronze Age Greek building is in _Time Bandits_. 

One of my favorite depictions of ancient Greece. Costumewise too [James 
Acheson was the designer] even though I know it's not accurate. But it is 
completely convincing IMHO. And there was COLOR! Not a lot of white.
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Subject: Re: [h-cost] sleeveless or tank-style chemises in-period
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Digging up what I can from work....

Guisto's "Birth of the Virgin"
http://images.google.com/imgres?imgurl=easyweb.easynet.co.uk/giorgio.vasari/giusto/giusto18.jpg&imgrefurl=http://easyweb.easynet.co.uk/giorgio.vasari/giusto/pic18.htm&h=836&w=678&sz=171&tbnid=Y2DQ4lgsxcIJ:&tbnh=141&tbnw=115&start=1&prev=/images%3Fq%3Dgiusto%2B%2522birth%2522%26hl%3Den%26lr%3D%26ie%3DUTF-8%26safe%3Doff%26sa%3DG

The Carmelite Potter  (female)
http://images.google.com/imgres?imgurl=home.bawue.de/~wmwerner/essling/pict/karmel11.jpg&imgrefurl=http://home.bawue.de/~wmwerner/essling/english/karmel05.html&h=200&w=190&sz=24&tbnid=bVLmVG8tRBgJ:&tbnh=98&tbnw=94&start=1&prev=/images%3Fq%3Dcarmelite%2Bpotter%26hl%3Den%26lr%3D%26ie%3DUTF-8%26safe%3Doff%26sa%3DG


Well didn't find many of the ones I know of by a long shot...  but here's 
two to get started with.
-Bridgette

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Subject: Re: [h-cost] chain mail bikinis
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I actually have a "Irish" blessing for these young ladies who ruin my faires
with these "outfits" I'll tell you off list because it's fairly naughty.


----- Original Message ----- 
From: "Katie Pleasance" <Katie@katiesorchids.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 27, 2004 12:04 PM
Subject: [h-cost] chain mail bikinis


> Maybe we could look upon the sunburn as righteous punishment for
> inappropriate apparel?
>
> Katie, who sometimes has evil thoughts ...
>
>
> > >Our most recent faire, in addition to chain mail bikinis, had a couple
of
> > >gals wearing one whole rabbit skin.  Most of it went into the bottom
with a
> > >couple of poofs for the top...and she was skinny with a little belly.
> >
> >When I see such people at faire, I always hope that they have remembered
> >to put on enough sunscreen. Otherwise they are likely to wind up with
> >sunburns in a lot of very uncomfortable places....
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Hi,

That looks very well. The corset too!
Here are my little hips :-) .
http://www.deredere.dds.nl/Jurksupport/Jurksupport.html
I need to get in and out of a car so this would work better for me I think.
Today I cut the pieces of fabrick of the robe a la francaise.
Tomorrow I wil start putting it together. And make some pictures with my 
new digital camera I got for my birthday.

Greetings,
        Deredere

Bjarne og Leif Drews wrote:

>Dear list.
>Almost finished the pannier frame for my courtdress. It needs the last
>finishing touches. The hoops bones are not steel, but Wissners artificial
>whaleboning. The cut of the pannier is my own and it is very steady and
>stabil. It can take considerable weight. So when you make your pannier cut
>good, it actually only needs light boning like Wissners.
>http://www.my-drewscostumes.dk/estrup2.htm
>Bjarne
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
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>
>  
>



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I cannot comment of the specific time period that this lady is recreating, but I can point to at least 3 italian and 4 german resources that do show sleeveless or tank-style chemises in-period. If you like I'll scrounge them up.


I'd also be interested in checking them out. Could you please post them to the list? Thanks!

Dawn (now off to check the translation of the Textilier Hausrat)



Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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In a message dated 5/27/04 10:10:39 AM Central Daylight Time, 
ms154@cornell.edu writes:
but I can point to at least 3 italian and 4 
german resources that do show sleeveless or tank-style chemises 
in-period.  If you like I'll scrounge them up.
Bridgette

That's fine, I'm not saying that they didn't exist, I'm saying that this 
particular plate does not, in my opinion, give evidence of their existence.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
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Subject: Re: [h-cost] sleeveless or tank-style chemises in-period
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In a message dated 5/27/04 11:16:58 AM Central Daylight Time, 
ms154@cornell.edu writes:
Digging up what I can from work....

Not to be nitpicky, but the first one is from the mid to late 14th century, 
and the webpage that I was remarking upon was about re-creating an authentic 
16th century ensemble.  Also, I think that it can be a little iffy to use 
paintings which are meant to be allegorical, as costuming evidence; in many 
instances the clothing depicted tends to be more from the artist's imagination than 
from reality.

Also, in both of these examples (which are both Medieval, not Renaissance), 
the sleeveless items are worn by women who are currently engaged in a specific 
employment; a midwife and a woman making pottery.  I would submit that this 
does not necessarily represent what a high-ranking woman would have worn under 
her daily clothing.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <54.2a9e0c74.2de74bdd@aol.com> <40B60030.5060705@kabelfoon.nl>
Subject: Re: [h-cost] bodice question, 16thC corsets
Date: Thu, 27 May 2004 13:12:16 -0500
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I'm not really ready to post about this, as I'm sort of writing an article
on it and haven't finished it, but I've come to the (depressing, for me)
conclusion that corsets--as a separate foundation garment, rather than as
stiffening of an outer garment--weren't known in north/western* Europe
anywhere NEAR as early as we generally think.

Tudor corset? Ain't no such thing. More like mid-late Elizabethan. 1569 is
too early by at least a decade: the practice of using even a busk (which
predated the use of a corset) was new in _1579_ in France, according to
Henry Estienne. Queen Elizabeth's 1583 'payer of bodyes of blake vellat'
wasn't boned; it was 'lyned with canvas, styffenid with buckram'. An earlier
(late 1570s) 'peire of bodies' of hers was simply made of 'sweete lether'
and was apparently not stiffened in any way, beyond simply being leather.
...And so on.

Stiffen the bodice by means of interlining. Don't bone it, and don't wear a
separate corset beneath it.

*(read: excluding Spain and Italy. They were a few years ahead, but I have
yet to pin down exactly how far ahead, as the idea of a _separate_ stiffened
foundation garment for the torso is not the same thing as the idea of a
garment stiffened at the torso. For example, to which category do I send the
vasquine? And how rigid must the stiffening be before you can call it a
corset--was Eleanor de Medici's c1560 velvet bodice stiff _enough_? etc.)

-E
(please don't tempt me to debate now, I have to finish & sell a bunch of
stuff in the next ~3 weeks so I can go buy out Jomar when I go through PA on
my way to NH for PorcFest! =} So I'm trying to stay off email, but it's not
working. I'll save any emails, and post more about this after that if anyone
is interested.)

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Date: Thu, 27 May 2004 11:18:49 -0700
Subject: Re: [h-cost] bodice question, 16thC corsets
From: Lynn Downward <LDownward@chori.org>
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On 5/27/04 11:12 AM, "E House" <formfunc@formfunction.org> wrote:

>
> 
> -E
> (please don't tempt me to debate now, I have to finish & sell a bunch of
> stuff in the next ~3 weeks so I can go buy out Jomar when I go through PA on
> my way to NH for PorcFest! =} So I'm trying to stay off email, but it's not
> working. I'll save any emails, and post more about this after that if anyone
> is interested.)
> 
I'd be willing to bet we're interested. And please include your sources.

Thanks,
LynnD
Although as a generously formed woman, I may just stick with my corset.
Elizabeth seems not to have much flesh to whip into the correct silhouette.

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Subject: [h-cost] Re: sleeveless or tank-style chemises in-period; corsets
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I happen to agree with a lot of Mistress Oonagh's conclusions as they go 
along with the research that I have done and with the way I make and wear my 
clothes.  Finding concrete evidence for clothing in this period is difficult.  I 
had not seen the woodcut with the sleeveless chemise before I saw her website.  
My interpretation of it was that it was a woman wearing a sleeveless chemise, 
which would have been very embarrassing to be wearing in public without 
anything over it, and that her hands were bound with rope.  

In addition to woodcut and the other depictions already mentioned, there is 
also the Carpaccio painting The Healing of the Madman c. 1496 
(http://www.kfki.hu/~arthp/html/c/carpacci/2/index.html) that shows what appears to be a 
sleeveless chemise hanging out to dry with other laundry (it's the garment closest 
to the building.

The period I do is late 15th to early 16th century Florentine which does not 
have the rigid shaping shown in the paintings on the website we're discussing 
(mid to late 16th century Venetian).  When I first started making Italian 
Renaissance dresses I put boning in them as I am rather well-endowed.  A friend 
then showed me her dresses, which weren't boned, however she wears a simple 
corselet - no bones or rope, just fabric.  The work done by it is sufficient to 
modify the silhouette to the desired shape without a great deal of strain on the 
outer dress.  She also wears a shift under her corselet so that she doesn't 
have to wash it after each wearing.  Although I line and interline my dresses, 
by themselves they do not give me the shape that I'm after.  My current 
project is an interpretation of la Donna Veluta by Raphael (the one with the chemise 
that we had been discussing - 
http://www.kfki.hu/~arthp/html/r/raphael/5roma/3/index.html) which has the interlining padstitched to the bodice.  Even with 
the added structure of the padstitching I anticipate that I will still need 
the corselet.

She and another friend also introduced me to wearing a petticoat with my 
clothes.  This simple addition also makes a big difference when trying to achieve 
the right look.  The skirts stand out as they do in the paintings.  Although I 
think there are better pictures to show petticoats than the one on the 
website (look at 
http://homepage.mac.com/festive_attyre/research/florentine/flor6.html), to me it definitely shows a woman wearing a dress with a petticoat.

Since adopting this way of dressing I have been much more pleased with the 
resulting silhouette.  While I don't think that every woman dressed this way 
every day, I do believe that this is one way of interpreting this time period in 
a manner that can be justified by the art left to us.

Nancy Stengel Ulmer
(Maddalena Salutati in the SCA)
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Subject: [h-cost] cartridge pleating and skirt waistbands
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Dear list.
Today i had an aha experience. And a bad one, because this is something i
should have known a long long time ago.
I studyed Nancy Bradfields book, all the 18th century dresses where you can
se how the skirt is attached to the bodice. Would you belive me if i tell
you, that i never noticed that tecknique before.
To my defence i must tell you that when i studyed at the art school for 4
years, all my teachers only was teaching modern sewing teckniques. They had
no clues what soever about cutting and sewing historical garments.
I have always made the pleats and then sandwich them betwen the bodice outer
and linning.
This is all wrong! The skirt is folded and then sewed to the edge of the
bodice, pleats hang free!!!!
I am so ashamed because now i have sewing 18th century dresses for many
years, and i never noticed this!
Boy dont know what to say :-(
Someone told me cartridge pleating was out of the question for 18th century,
and now i belive it!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] RE: Briseis: Troy - I have an idea
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>From: "Susan Carroll-Clark" <nicolaa@rogers.com>
>Yep, she's in there.  Not so much as a love interest, though, which is 
>where
>the girlfriend part comes in.  The deep bonds of affection involving
>Achilles in the Iliad involve Patroclus.  I was happy to see they at least
>had him in there and that they were obviously close, and that Patroclus did
>die wearing Achilles' armour.

Although the whole sulking thing is over her.  But yes, there is that whole 
*cough* mentoring relationship with Patroclus...

> > I'm pretty sure that he died after the death of Hector, which comes at 
>the
> > end of the Illiad :)    Heck he was even shot by Paris :)
>But of course, the horse episode is not in the Illiad. I think Achilles is
>gone by the time Troy is finally taken.

I  don't remember which sequel the death of Achilles is in, or for that 
matter, the Horse.

I always find it interesting how much is assumed to have been in the Illiad 
that was actuallyin the Oddysey, the Aneid, or whatnot.

Marc

_________________________________________________________________
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The horse dies? How dreadful!

Katie, running for cover again ...

>I  don't remember which sequel the death of Achilles is in, or for that 
>matter, the Horse.



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When I see those silly costumes on TV I sure wish that someone would
use a little sense.  any woman caught wearing such a silly amount of
clothing in any period in history would have been kept under lock and
key by the first guy who knocked her on the head and could keep ahold of
her til he got her home.   
	it isn't only silly from that point of view though.  can you imagine
someone stupid enough to go backwoods camping in a string bikini?   she
would be cut to ribbons by the brush and not at all cute and sexy
looking.   
Kitty

> >>dawn@reddawn.net writes:
> >>I predict a lot more blue face paint at Ren-fest this fall.
> >>
> >>Not to mention chain mail bikinis, God help us.
> >>
> >
> >Our most recent faire, in addition to chain mail bikinis, had a couple of
> >gals wearing one whole rabbit skin.  Most of it went into the bottom with a
> >couple of poofs for the top...and she was skinny with a little belly.
> 
> I do hope that was one skin _each_ and not one for the two of them....

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Katie Pleasance wrote:
> 
> Thanks for the vocabulary lesson.

ooops, that wasn't my intention.   just to include all pertinent info,
since it is hard to know who all is reading this and interested but not
sure what others are talking about.  


> 
> Although I have made yoked skirts and skirts with narrow waistbands, I've
> never made a skirt with a wide waistband that has it's bottom at the
> waistline. My natural waist is right at the bottom of the rib cage and for
> me a waistband that ended at the waist would have to climb out and over
> that rib cage in order to go upwards. This would not be stable and the
> waistband would just fall back down to the natural waist. I guess my rib
> cage is too big at the bottom <g>. (I once knew a girl who's rib cage
> flared out at the bottom. She wore AAAAA shoes with an AAAAAAA heel! I
> guess my fitting problems aren't so bad after all <g>.)
> 
> Katie

re: positioning of waistbands, I am probably basing it on my experience,
being as *I* am and always have been hippy.   my high hip is an inch or
so below my waist.   I thought it was something I had read, but maybe I
just thought it was right from experience.   
However, I guess if I were talking about the side of my body, I would
have to say my ribcage also comes down to my waist, only in front is
there a gap.   and now that you mention it... at the side, an elastic
waistband does tend to sort of fold there and the middle sits on my
waist.  I wonder if it would do this with a firm waistband as well... 
something to pay attention to in future.   however, since I am now so
fluffy that things that shouldn't touch do touch at the side, perhaps I
am not the best test person. 

hmmm, maybe I should make myself another skirt like that one I had as 
girl... that wide waistband would certainly hold the fluff in position
wouldn't it?  almost like waist shaper.   and a set of over the shoulder
straps would keep it from rolling down.  which I believe it had, come to
think of it.   
	thanks for the input, Kitty

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Subject: [h-cost] First time Regency
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I'm leaping ahead a few centuries from my normal interests and 
undertaking a Regency gown. Or, to be more specific, an American gown 
circa 1812 or slightly earlier, for a "War of 1812" event this fall. 
I've collected a bunch of links, images, and have the Arnold and Waugh 
books, but, of course, wanted to ask the members here for advice.

So:
  - I want to start with underthings. Any advice about corset making. 
Things to do, not to do, "gotcha's" etc.?
  - layers? shift, corset, petticoat, pantalets?
  - any recommendations about how "real life" American clothing would 
differ from the English fashion plates or how up-to-date a fairly 
well-off and fashionable American woman would dress in 1812?
  - any "dead give aways' about design (ex.: sleeves in 1812 would look 
like this, but by 1815 would not; the bodice in pre-1812 gowns would be 
shaped like such-and-such but not like that, etc.)
  - special advice for a gown for a woman of, ahem, mature years (49)
  - should I be looking at day dresses or outdoor wear (many of the 
events will be outdoors, some inside, one dancing event, but that's 
during the day as well)
  - fabric advice?

I usually spend months looking at and collecting images before even 
starting to think about sewing, but this time the timeline is a bit 
shorter, so any and all help would be greatly appreciated. Oh yes, and I 
want to go for as authentic as possible. Looking weird is OK--no need to 
make concessions for 21st century standards of beauty.

Thanks!!

- Hope

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Subject: Re: [h-cost] First time Regency
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In a message dated 5/27/2004 4:05:02 PM Eastern Standard Time, 
hope.greenberg@uvm.edu writes:
any recommendations about how "real life" American clothing would 
differ from the English fashion plates or how up-to-date a fairly 
well-off and fashionable American woman would dress in 1812?
Americans were pretty up to date, fashion wise. We had a debate on the 1812 
civilian list, but my personal theory is that Americans were more influenced by 
French than English fashion--but, of course, toned down from the extremes of 
the early century.

One great thing about Regency is that the ladies knew about mixing, matching, 
and accessorizing. So you can make a gown with scoop neck and short sleeves, 
but make undersleeves (originals would tie on, but I find that very 
uncomfortable, so I baste mine on) and chemisette (great pattern in J.A.) to change the 
look to be appropriate for daywear.  The Lady of Distinction in "The Mirror of 
Graces" (reprinted by R.L. Shep as "Regency Etiquette) wrote that a lady was 
always covered to her wrists and neck for daytime. This may not have been 
universal, based on genre paintings of the period, but is, I think, a safely 
appropriate look for a matron.

If it will be cool enough to need a wrap, you can add a shawl or spencer.

One of the biggest mistakes I see interpreters of this period making is the 
wrong fabric choice--please, no little flower print unless you are sure it is 
an accurate repro of period fabrics. In general, you can't go wrong with a 
cotton, linen, or cotton/linen blend in a solid color like medium blue or one of 
the various gold tones. White dresses were still very popular, but other colors 
were worn and would, perhaps, be just as suitable for a woman of that 
"certain age." I'm not meaning to imply there weren't other colors, too, but these, I 
think, are safe choices.

Pantalets were not in general usage yet, so you want shift, corset, and 
petticoat.

Corsets were in transition. I'm still not convinced we know very well what 
corsets of this period looked like, but there are a couple of patterns 
available.  Sorry I'm away from home, but I'm sure someone else can weigh in here.

Ann Wass
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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] waistband for skirts
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M'Lady, there was no sarcasm involved.

I'm new / old to sewing ... 30+ years ago I drafted my own patterns from 
scratch in order to get clothes to fit a too-tall girl with too much up top 
and not enough bottom. There were no pattern programs in those days. Heck, 
personal computers had just been invented!

But, I did no sewing since then until recently when I retired. So 
***much*** is different. The modern machines can do magic. Things like 
fusible interface make life easier (I use it to reinforce pattern tissue). 
My new Viking will even do the embroidery for me as soon as I figure out 
how to use the embroidery features <g>. Words change meanings, too.

Because I have so short a gap between my rib-cage and pelvis (high-hip), I 
cannot wear wide belts without gouging something and my waist-bands always 
fold along the bend-over line. So I started making wide waistbands with a 
crease built-in so that they would fold where I wanted them to. Maybe it's 
because my hips are so narrow. Yeah, I once heard *snake-hips* used as a 
compliment. I could have smacked the speaker! If I had been a tom-boy, 
maybe I would not have minded, but I always liked pretty clothes too much 
and pretty clothes attractively emphasize a woman's bottom padding as well 
as her top padding. Viva J.Lo!


> > Thanks for the vocabulary lesson.
>
>ooops, that wasn't my intention.   just to include all pertinent info,
>since it is hard to know who all is reading this and interested but not
>sure what others are talking about.



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this is interesting.   how does it work?   are you saying that raw edges
of fabric hang out on the outside?  are the pleats on the outside or is
the bodice on the outside?  or don't they overlap at all?   or is the
top of the skirt hemmed before pleating?, is the bodice finished on the
edge before it has the pleats added onto it?   

cartridge pleating looks so elegant.  when did it fall out of favor?  


Bjarne og Leif Drews wrote:
> 
> Dear list.
> Today i had an aha experience. And a bad one, because this is something i
> should have known a long long time ago.
> I studyed Nancy Bradfields book, all the 18th century dresses where you can
> se how the skirt is attached to the bodice. Would you belive me if i tell
> you, that i never noticed that tecknique before.
> To my defence i must tell you that when i studyed at the art school for 4
> years, all my teachers only was teaching modern sewing teckniques. They had
> no clues what soever about cutting and sewing historical garments.
> I have always made the pleats and then sandwich them betwen the bodice outer
> and linning.
> This is all wrong! The skirt is folded and then sewed to the edge of the
> bodice, pleats hang free!!!!
> I am so ashamed because now i have sewing 18th century dresses for many
> years, and i never noticed this!
> Boy dont know what to say :-(
> Someone told me cartridge pleating was out of the question for 18th century,
> and now i belive it!
> 
> 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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Date: Thu, 27 May 2004 13:50:26 -0700
Subject: Re: [h-cost] cartridge pleating and skirt waistbands
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I absolutely cannot talk about the 17-18th Centuries, but I've read that the
ladies' journals somewhere between 1855-60 started to call cartridge
pleating "old-fashioned" and knife-pleats or box pleats were replacing them.
This is a time when gored skirts were becoming more popular also. The first
time I read that was in a book that quoted contemporary writings, but I
don't have my library here at work. Sorry for the incomplete reference.
(Maybe Cut of Women's Clothing? Something large and heavy-ish I seem to
remember.)

Could cartridge pleats gone out of fashion after centuries only to come back
again?

LynnD

On 5/27/04 1:37 PM, "Kitty Felton" <basyefelton@floodcity.net> wrote:

> this is interesting.   how does it work?   are you saying that raw edges
> of fabric hang out on the outside?  are the pleats on the outside or is
> the bodice on the outside?  or don't they overlap at all?   or is the
> top of the skirt hemmed before pleating?, is the bodice finished on the
> edge before it has the pleats added onto it?
> 
> cartridge pleating looks so elegant.  when did it fall out of favor?
> 
> 
> Bjarne og Leif Drews wrote:
>> 
>> Dear list.
>> Today i had an aha experience. And a bad one, because this is something i
>> should have known a long long time ago.
>> I studyed Nancy Bradfields book, all the 18th century dresses where you can
>> se how the skirt is attached to the bodice. Would you belive me if i tell
>> you, that i never noticed that tecknique before.
>> To my defence i must tell you that when i studyed at the art school for 4
>> years, all my teachers only was teaching modern sewing teckniques. They had
>> no clues what soever about cutting and sewing historical garments.
>> I have always made the pleats and then sandwich them betwen the bodice outer
>> and linning.
>> This is all wrong! The skirt is folded and then sewed to the edge of the
>> bodice, pleats hang free!!!!
>> I am so ashamed because now i have sewing 18th century dresses for many
>> years, and i never noticed this!
>> Boy dont know what to say :-(
>> Someone told me cartridge pleating was out of the question for 18th century,
>> and now i belive it!
>> 
>> Bjarne
>> 
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>> 
>> http://home0.inet.tele.dk/drewscph/
>> 
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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basically you finish your bodice as if you were not going to attach a skirt, so that the bottom edge is finished. 

then you gather and pleat the skirt and sew it on the outside so that the cartridge pleats make the skirt stick out - here are two great tutorials on cartridge pleats: http://costume.dm.net/cartpleat/index.html
http://www.reconstructinghistory.com/17thc/cartridge.html


> 
> From: Kitty Felton <basyefelton@floodcity.net>
> Date: 2004/05/27 Thu PM 01:37:36 PDT
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] cartridge pleating and skirt waistbands
> 
> this is interesting.   how does it work?   

is mise le meas,
Pandora Fitzpatrick
Everett, WA


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Someone asked what it's like; sorry, I can't find the specific email. 
Here's a description with drawings; I think the "rolled pleats" are what 
are also called "organ pipe pleats" by some:

http://costume.dm.net/pleats/

Be sure to follow the link to the longer section on cartridge pleats.

cv
-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"The mind games, the isolation, the accusations about being unfaithful, 
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job... We're in an abusive relationship with the Bush Administration!" 
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Hi all!

Speaking of cartridge pleating, what would everyone's opinion on this gown
be:

http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst3.jpg

Cartridge pleat or other?

I know someone else mentioned it earlier, but I do not know if it was
answered:
What are organ pleats?


Sheridan


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E House wrote:


I'm not really ready to post about this, as I'm sort of writing an article
on it and haven't finished it, but I've come to the (depressing, for me)
conclusion that corsets--as a separate foundation garment, rather than as
stiffening of an outer garment--weren't known in north/western* Europe
anywhere NEAR as early as we generally think.

Tudor corset? Ain't no such thing. More like mid-late Elizabethan. 1569 is
too early by at least a decade: the practice of using even a busk (which
predated the use of a corset) was new in _1579_ in France, according to
Henry Estienne.

Um, according to Jutta Zander-Seidel (author of the "Textiler Hausrat"), Margarethe Clatz left "1 old white corset (mutter) over a shirt/chemise" as part of her probated inventory in 1550. Margarethe Rieter left no less than 8, both old and new, that were worn either over or under chemises/shirts. Were they boned as are later corsets? Zander-Seidel doesn't say. She does state, however, that it appears from the probate inventories that patrician and noble women in Germany were interested in the proper fit of the popular Spanish-style clothes, and had underpinnings that would give them the required support.

This information is from the wonderful English translation that Katherine Barich has been working on of the "Textiler Hausrat." The original information (in German) can be found on pp. 94-95.

Dawn



Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: RE: [h-cost] bodice question, 16thC corsets
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With some of the early - mid 16th cent. Italian dresses that are open in the
front I have always thought that there wasn't a corset but a stiffened
bodice. As I was understand it about the culture, they were going through a
sort of "natural" phase also the area was warm. I just couldn't think of
what would stiffen it..and then the duh moment...buckram.
This of coarse is conjecture from many portraits.

De

-----Original Message-----
I'm not really ready to post about this, as I'm sort of writing an article
on it and haven't finished it, but I've come to the (depressing, for me)
conclusion that corsets--as a separate foundation garment, rather than as
stiffening of an outer garment--weren't known in north/western* Europe
anywhere NEAR as early as we generally think.

Tudor corset? Ain't no such thing. More like mid-late Elizabethan. 1569 is
too early by at least a decade: the practice of using even a busk (which
predated the use of a corset) was new in _1579_ in France, according to
Henry Estienne. Queen Elizabeth's 1583 'payer of bodyes of blake vellat'
wasn't boned; it was 'lyned with canvas, styffenid with buckram'. An earlier
(late 1570s) 'peire of bodies' of hers was simply made of 'sweete lether'
and was apparently not stiffened in any way, beyond simply being leather.
...And so on.

Stiffen the bodice by means of interlining. Don't bone it, and don't wear a
separate corset beneath it.

*(read: excluding Spain and Italy. They were a few years ahead, but I have
yet to pin down exactly how far ahead, as the idea of a _separate_ stiffened
foundation garment for the torso is not the same thing as the idea of a
garment stiffened at the torso. For example, to which category do I send the
vasquine? And how rigid must the stiffening be before you can call it a
corset--was Eleanor de Medici's c1560 velvet bodice stiff _enough_? etc.)

-E
(please don't tempt me to debate now, I have to finish & sell a bunch of
stuff in the next ~3 weeks so I can go buy out Jomar when I go through PA on
my way to NH for PorcFest! =} So I'm trying to stay off email, but it's not
working. I'll save any emails, and post more about this after that if anyone
is interested.)

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-----Original Message-----
>>In a message dated 5/25/04 11:27:06 PM Central Daylight Time,
>>dawn@reddawn.net writes:
>>I predict a lot more blue face paint at Ren-fest this fall.
>>
>>Not to mention chain mail bikinis, God help us.
>>
>
>Our most recent faire, in addition to chain mail bikinis, had a couple of
>gals wearing one whole rabbit skin.  Most of it went into the bottom with a
>couple of poofs for the top...and she was skinny with a little belly.

I do hope that was one skin _each_ and not one for the two of them....

When I see such people at faire, I always hope that they have remembered to
put on enough sunscreen. Otherwise they are likely to wind up with sunburns
in a lot of very uncomfortable places....
---------------------
If they get sunburned there they ain't got lining and if they ain't got
lining they will probably have pain from something else if thy aren't
wearing the mini links but the standard links that are not riveted. (Talk
about a hair pulling incident)

De

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Shane & Sheridan wrote:
> http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst3.jpg
> 
> Cartridge pleat or other?

Plain gathers, I'd guess, in fairly light fabric, but it's not my era. 
If it were pleats, there should be more regularity still showing by the 
time it clears her arm, I think.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: Kitty Felton <basyefelton@floodcity.net>
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Oh hey sounds like you had the perfect figure for the sixties, remember
Twiggy?   I however, had the perfect figure for the fourties or fifties,
ten or twenty years to late.   My mom bought me shorts sets for Chubbys,
and they fit snug in the hip and rattled around an extra 3 or 4 inches
in the waist.  With a short rise as well, it took me 20 years to learn
to fit pants to that figure.  Now I wear only skirts.   
	well, the DGrandbaby cut his finger exploring a coke can and it won't
quit bleeding, trip to the ER I guess.   he crawls on the floor so it's
bound to get nasty if we don't do anything, I'm afraid.   
	thanks for the note, it sure makes it interesting to read your notes
when I know something about you.  
	Kitty

Katie Pleasance wrote:
 Maybe it's
> because my hips are so narrow. Yeah, I once heard *snake-hips* used as a
> compliment. I could have smacked the speaker! If I had been a tom-boy,
> maybe I would not have minded, but I always liked pretty clothes too much
> and pretty clothes attractively emphasize a woman's bottom padding as well
> as her top padding. Viva J.Lo!

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to all, Cynthia, Pandora and Lynn, and anyone else who sent pages, this
is so great, thanks.  this helps me visualize it so well, though I guess
I will have to give up this idea if it wasn't even popular during my era
of interest.   I've seen it on TV and just love how it looks, but one
thing at a time and it probably isn't the best choice for a well padded
person to aspire to unless they are doing something specific like a ball
I guess.   that's the reason I am aiming for such a specific look, cause
I think it would look best on me.   LOL  Kitty

pandoraf@verizon.net wrote:
> 
> basically you finish your bodice as if you were not going to attach a skirt, so that the bottom edge is finished.
> 
> then you gather and pleat the skirt and sew it on the outside so that the cartridge pleats make the skirt stick out - here are two great tutorials on cartridge pleats: http://costume.dm.net/cartpleat/index.html
> http://www.reconstructinghistory.com/17thc/cartridge.html
> 
> >
> > From: Kitty Felton <basyefelton@floodcity.net>
> > Date: 2004/05/27 Thu PM 01:37:36 PDT
> > To: Historical Costume <h-costume@indra.com>
> > Subject: Re: [h-cost] cartridge pleating and skirt waistbands
> >
> > this is interesting.   how does it work?
> 
> is mise le meas,
> Pandora Fitzpatrick
> Everett, WA
> 
> _______________________________________________
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Kitty Felton wrote:

> it probably isn't the best choice for a well padded
> person to aspire to unless they are doing something specific like a ball
> I guess.

A well-executed gown in the proper style for whatevery historical period 
you like, will look good on any size person.  Sure, if you're a size 24, 
you won't look like a slender woman, but you can look queenly or elegant 
or fashionable no matter what size you are, if you make the right choices.

And I always say that although I'm a size 24, my persona is a size 12.  :)

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 26, 2004 11:20 PM
Subject: Re: [h-cost] waistband for skirts


> I'd have to double-check to make sure, but I recall that the majority of
> the skirts from complete (extant)gowns (as opposed to an underskirt) in
> Arnold's _Patterns of Fashion 1560-1620_ have shaped upper edges.  ISTR
> one child's dress that does not.
> Don't remember any waistbands, though, shaped or not (on the
> skirts...men's clothing being a different topic).
> --sue

<snip> I don't see a need for a separate waistband my skirts are all sewn to
the bodice as I have yet to see any evidence that waistbands were used
(except for petticoats) and this shaping of the skirts to match the bodice
is just one of the pieces of evidence that skirts probably were attached
directly to the bodice. now I know I've seen a really good summary of the
argument against waistbands I've just got to find it.
I have a feeling it's at www.sempstress.org I'll have a look and let you
know if I'm wrong.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Yes - one skin each <GG>.  But you know what the kicker is here?!!  Both are
in my group!  I hope they didn't identify themselves as members of the
group...  And about sunscreen - one is a red head, the other a blonde.  I
hope so too.
>>
>>Our most recent faire, in addition to chain mail bikinis, had a couple of
>>gals wearing one whole rabbit skin.  Most of it went into the
>bottom with a
>>couple of poofs for the top...and she was skinny with a little belly.
>
>I do hope that was one skin _each_ and not one for the two of them....
>
>When I see such people at faire, I always hope that they have
>remembered to put on enough sunscreen. Otherwise they are likely
>to wind up with sunburns in a lot of very uncomfortable places....
>


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I'd like to know more about that first "source" (the woman on the 
horse).  I could see that as either a woman with some sort of 
darker-colored gown and lighter colored sleeves (which may or may not 
belong to some sort of undergown), OR as a woman in a sleeveless gown 
with her hands tied together at the wrists, and there's a distinct air 
of mummery or mocking or something to the depiction.
In the second example, it's just a bit washed out, I think--it's 
definitely a dress, albeit, a light-colored one.  The colored drape 
certainly could be an underskirt, although I'd first thought of it as a 
skirt attached to a bodice for an underdress, a la Eleanor.  That 
wouldn't work, though, with some of those Venetian styles in which it 
really looks like the shift is visible under the partly-open front 
lacings of the gown. Hmmm....
I think, however, that she's got a great sense of humor, and certainly 
gets the "look" right!
--sue, who's never dared a Venetian, herself!

Tiffsewsstuff@aol.com wrote:

> In a message dated 5/27/04 8:15:39 AM Central Daylight Time, 
> mooncat@in-tch.com writes:
> Is there a sleeveless shift out there I'm not aware of? :o)
> 
> 
> I gotta say that after viewing the page at 
> http://members.optusnet.com.au/oonaghsown/gruesome_truth.htm 
> 
> I'm a little on the questioning side regarding some of the conclusions she 
> came to as well.  
> 
> For example, the plate that she uses as evidence for her spaghetti strap 
> chemise is, in my opinion, neither of a sleeveless chemise, nor is it from the 
> period that she is attempting to recreate.  It looks to me to be 14th or early 
> 15th century at the very latest, judging by the clothes of both the people in 
> the drawing.  And what the lady is wearing looks to me to be a chemise or 
> underdress with long, fitted sleeves (note the cuffs at her wrists), with a very 
> standard surcoat over it.
> 
> The next picture on the page, which is supposed to support the idea of an 
> underskirt, I would also interpret differently.  The lady on the right appears to 
> me to be wearing a chemise with a corset over it, and no dress at all; and 
> the tealy-turquoise drape seen peeking from under her doesn't necessarily look 
> like it's attached to her at all.  It could be simply draping that was added by 
> the artist for color; I don't see anything that would indicate to me that it 
> is conclusively (or, frankly, even possibly) an underskirt worn by the 
> subject.  I'm not saying that underskirts were not worn, but I think this particular 
> painting is not a good example of it.
> 
> Her costumes are lovely, and she's done an excellent job of reproducing the 
> look and styles in the portraits.  However, I definitely think that it is not 
> indicative that anyone wore sleeveless or tank-style chemises in-period.



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Not Tiffany, but I'd love to see them!
--sue

M Stewart wrote:

> 
> Hey there Tiffany...  I cannot comment of the specific time period that 
> this lady is recreating,  but I can point to at least 3 italian and 4 
> german resources that do show sleeveless or tank-style chemises 
> in-period.  If you like I'll scrounge them up.
> Bridgette
> 
>>>  However, I definitely think that it is not indicative that anyone 
>>> wore sleeveless or tank-style chemises in-period.
> 


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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: RE: [h-cost] sleeveless or tank-style chemises in-period
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At 8:19 AM -0700 5/27/04, Colleen McDonald wrote:
>Hey there Tiffany... I cannot comment of the specific time period 
>that this lady is recreating, but I can point to at least 3 italian 
>and 4
>
>german resources that do show sleeveless or tank-style chemises 
>in-period. If you like I'll scrounge them up.
>
>Bridgette>>
>
>I'm not Tiffany, but I'd be interested in seeing what you have 
>located. So far, the ones that I know of are the chemise shown in 
>Kohler's book, the Bohemian Bath house Babes, and there is an 
>Italian painting of one that I can't remember the name of, but it is 
>in Padua and dated to 1376.

In Olga Sronkova's "Gothic Women's Fashion" there's at least one 
painting of a woman in childbed wearing a "spaghetti-strap chemise" 
similar in style to the bathhouse babes.  (The book also has a good 
selection of bathhouse babes.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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To: "Historical Costume" <h-costume@indra.com>
References: <BCDBA2A2.33E5%LDownward@chori.org>
Subject: Re: [h-cost] cartridge pleating and skirt waistbands
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----- Original Message -----
From: "Lynn Downward" <LDownward@chori.org>
To: "h costume" <h-costume@indra.com>
Sent: Friday, May 28, 2004 6:50 AM
Subject: Re: [h-cost] cartridge pleating and skirt waistbands
> Could cartridge pleats gone out of fashion after centuries only to come
back
> again?
>
> LynnD
<snip>
Absolutely, plenty of things will fall out of favour and then be re-invented
or rediscovered a long time later. In the case of Cartridge pleating, so far
as I've been told it seems to have largely disappeared from fashionable
clothing between the 17th and 19th centuries. I recall hearing something
about regional peasant costuming somewhere featuring cartridge pleating but
I'm not sure, also as cartridge pleating takes up so much fabric I don't
know how economical it would be for your average Joe in the fields. ordinary
gathering remained so it wasn't hard to re-invent cartridge pleating base on
that, but on the whole cartridge pleating disappeared.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Subject: Re: [h-cost] Yet another bodice question
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----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 27, 2004 11:16 PM
Subject: Re: [h-cost] Yet another bodice question


> What's she basing *that* on? The Bohemian Bath Babes? Or just
> expediency? Is there a sleeveless shift out there I'm not aware of? :o)
> I'm also a bit confused by your reference to the "classic Italian gather
> chemise," since the ones we've been talking about recently don't have
> that high neckline/collar going on.
<snip>
Sorry, perhaps I wasn't clear, I diverted off into Venetian costuming for a
bit as that's what the article I pointed to was about then I got back onto
the topic of the English later. When talked about the Italian gathered
chemises I was talking about the chemises worn by Mistress Oonagh (whose
website I pointed you to) Not the English portrait the original post was
about. Because Oonagh does Italian she wears a wide necked gathered camica
not the English high necked style we see in the portrait that sparked this
discussion.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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Subject: [h-cost] RE: Briseis: Troy - I have an idea
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>>> marccarlson20@hotmail.com 27/05/2004 20:18:33 >>> wrote:
>I  don't remember which sequel the death of Achilles is in, or for
that 
>matter, the Horse.

>I always find it interesting how much is assumed to have been in the
>Illiad that was actuallyin the Oddysey, the Aneid, or whatnot.

Can't speak for the Greek books, but the Horse is in the Aeneid Book 2.
I studied it for Latin O-level, more years ago than I care to remember.



Kate Bunting
Library, University of Derby
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Subject: [h-cost] 'Time Bandits'
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Susan, I too fell off my chair when I saw that bit in Time Bandits.  A perfectly acceptable and fun piece of fantasy, and suddenly a tremendously authentic bit of research right bang in the middle.  And I loved the way that in that short piece of film you got a strong sense both of the religious and being in the point where matriarchy was giving way to patriarchy.  And it wasn't glossed up at all - the clothes weren't 'shiny' and the people weren't 'perfect'.  And didn't Sean Connery make a wonderful Agamemnon-figure.
 
I wasn't the slightest bit impressed with the Robin Hood sequences in the same movie.
 
Freyalyn, surprising voluble for this list!

h-costume-request@indra.com wrote:


On a related note for Bronze Age fans--one of the best depictions I've ever
seen of a Bronze Age Greek building is in _Time Bandits_. I remember just
about falling out of my chair that someone had actually researched the
things and put one in the movie.

Susan

		
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Heya all

A while ago there were several long discussions on coteharies.  Several 
people also posed some intrested sites with step by step picture 
dicrections for draping on on a body.... anyone happen to rember the 
address of those sites?

Jordana



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accuracy,
>
Huh....I agreed with you on that....when I said "Of course this is what you
are saying".


Apols, I did not read it that way,

-C.

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>Not to mention chain mail bikinis, God help us.

Don't you go knocking chain maille bikinis, they have paid my rent more than
once (making, not wearing).

You know, I remember a few years back there was an announcement for a movie
going into production called Arturus Rex which aimed to do a realistic
looking version of the story. Around the same time, that thing with Connery
went into production and pop went the imputus for Arturus Rex. We can never
win, can we?

-C.

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Subject: [h-cost] compilation of sleeveless /tank chemise resources
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Hi folks... just dropping all of these into one email.   As I look over it 
I say cool...  Most of the ones I know of are here... but there is one more 
from a German Codex that I can't seem to put my fingers on...


from Colleen: the chemise shown in Kohler's book, the Bohemian Bath house 
Babes, and there is an Italian painting of one that I can't remember the 
name of, but it is in Padua and dated to 1376.

from Lena:  There are also a late 14th cent. wall painting of Isolde in a 
castle near Bolzano, in northern Italy, and an Austrian mid 15th cent. 
playing card with a female potter.

from Bridgette:  Guisto's "Birth of the Virgin", The Carmelite Potter  (female)

from Heather:  In Olga Sronkova's "Gothic Women's Fashion" there's at least 
one painting of a woman in childbed wearing a "spaghetti-strap chemise" 
similar in style to the bathhouse babes.  (The book also has a good 
selection of bathhouse babes.)

Dang as a group...  we know a good bit...  too bad we don't have a central 
repository to store it all...
Bridgette

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>>> Achilles
I'm pretty sure that he died after the death of Hector, which comes at the
end of the Illiad :)    Heck he was even shot by Paris :)

---
In a nutshell: Patroclus frocks up as Achilles and is killed by Hector,
Achilles kills Hector and takes him for a drag, Paris kills Achilles by
firing an arrow into his...well, you work it out,

-C.

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Subject: Re: [h-cost] Re: bodice question, 16thC corsets
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--- Dawn Jacobson <dme_maud@pacbell.net> wrote:

> Um, according to Jutta Zander-Seidel (author of the
> "Textiler Hausrat"), Margarethe Clatz left "1 old
> white corset (mutter) over a shirt/chemise" as part
> of her probated inventory in 1550. Margarethe Rieter
> left no less than 8, both old and new, that were
> worn either over or under chemises/shirts. Were they
> boned as are later corsets? Zander-Seidel doesn't
> say. She does state, however, that it appears from
> the probate inventories that patrician and noble
> women in Germany were interested in the proper fit
> of the popular Spanish-style clothes, and had
> underpinnings that would give them the required
> support.
> Dawn
>

But does 'corset', in this context, mean separate
stiffened garment?

There were garments called 'corsets' in the mid-14th
century, too, but it's been a while since anyone
believed that they were body shaping garments.  
What they actually were is up in the air, though I
suspect some sort of 'body' garment, as opposed to
hosen, just from the name.

Obviously, the term has changed significantly from the
fourteenth century to the sixteenth, but I don't know
when.

Ann in CT


	
		
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From: Angela Kessler <ivyharpdotcom@yahoo.com>
Subject: Re: Re: [h-cost] cartridge pleating and skirt waistbands
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I love what she's got on her head!  What is that?  And
what is the full picture this is a detail from?  It
looks like those could be sprigs of rosemary at the
top of her head, and I was just reading last night in
a "Martha Stewart Weddings" magazine about how
rosemary "used to be" a symbol of fidelity, and good
for brides to wear.  They had a couple of pictures of
1940s-ish weddings, and some vague reference which I'm
only vaguely remembering, about how the association
went back to medieval times.  Anyway, it looks like
there's a man beside her, and is he holding her hands
or are all those fingers hers?  Oh I see, some of the
things I thought were fingers seem to be rosary beads.
 Anyway, has anyone else heard of this "rosemary for
brides" idea?

-Angela


--- Shane & Sheridan <shaneandsheridan@sympatico.ca>
wrote:
> Hi all!
> 
> Speaking of cartridge pleating, what would
> everyone's opinion on this gown
> be:
> 
>
http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst3.jpg
> 
> Cartridge pleat or other?
> 
> I know someone else mentioned it earlier, but I do
> not know if it was
> answered:
> What are organ pleats?
> 
> 
> Sheridan
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



	
		
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From: Lena Strid <lstrid@mglarc.com>
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Subject: RE: Spam: [h-cost] Fitted Cotehardie Web Pages
Date: Fri, 28 May 2004 14:58:36 +0100
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http:www.cottesimple.com? There may be more.

/Lena

-----Original Message-----
From: J.A.Urbik [mailto:jaurbik@optonline.net]
Sent: 28 May 2004 13:59
To: Historical Costume
Subject: Spam: [h-cost] Fitted Cotehardie Web Pages


Heya all

A while ago there were several long discussions on coteharies.  Several 
people also posed some intrested sites with step by step picture 
dicrections for draping on on a body.... anyone happen to rember the 
address of those sites?

Jordana



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Date: Fri, 28 May 2004 15:00:26 +0100
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FYI: Bridgette's Carmelite potter and my playing card potter is the same
image. 

/Lena

-----Original Message-----
From: M Stewart [mailto:ms154@cornell.edu]
Sent: 28 May 2004 14:08
To: Historical Costume
Subject: [h-cost] compilation of sleeveless /tank chemise resources



Hi folks... just dropping all of these into one email.   As I look over it 
I say cool...  Most of the ones I know of are here... but there is one more 
from a German Codex that I can't seem to put my fingers on...


from Colleen: the chemise shown in Kohler's book, the Bohemian Bath house 
Babes, and there is an Italian painting of one that I can't remember the 
name of, but it is in Padua and dated to 1376.

from Lena:  There are also a late 14th cent. wall painting of Isolde in a 
castle near Bolzano, in northern Italy, and an Austrian mid 15th cent. 
playing card with a female potter.

from Bridgette:  Guisto's "Birth of the Virgin", The Carmelite Potter
(female)

from Heather:  In Olga Sronkova's "Gothic Women's Fashion" there's at least 
one painting of a woman in childbed wearing a "spaghetti-strap chemise" 
similar in style to the bathhouse babes.  (The book also has a good 
selection of bathhouse babes.)

Dang as a group...  we know a good bit...  too bad we don't have a central 
repository to store it all...
Bridgette

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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] First time Regency
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--- Hope Greenberg <hope.greenberg@uvm.edu> wrote:
> undertaking a Regency gown. Or, to be more specific,
> an American gown circa 1812 or slightly earlier, 
> for a "War of 1812" event this fall. 
> I've collected a bunch of links, images, and have
> the Arnold and Waugh books, but, of course, wanted 
> to ask the members here for advice.
> 
> So:
>   - I want to start with underthings. Any advice
> about corset making. 

If you choose to start with the Mantua Maker's
corsets, please be aware that it has no room for hips.
 

A friend of mine was very happy recently, when she
realized that slashing the corsets & inserting godets
as her figure demanded can make a well-fitting
corsets.  And this friend has not much butt, though
more than the designer.

I am quite hip-heavy myself and tried the Mantua Maker
Regency corset--the steels on either side buckled
under the pressure the first time I tried to lace it
on for fitting.  It hadn't even been laced up snugly
yet.

Curves are not forbidden in the time period
http://www.pemberley.com/  has a caricature of women
of various body types being corseted at:
http://www.pemberley.com/janeinfo/ppbrokil.html
(or go to "site map", "Jane Austen Information",
"Illustration & clothing")  about 15% of the way down
the page.
So there is evidence for boldly slashing & inserting
godets as necessary.

> - Hope

Ann in CT



	
		
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I don't have access to Textiler Hausrat--I'd be interested in seeing the
original German phrase. At the moment, without specific mention of the means
of stiffening used, I see no reason to classify this garment as the sort of
thing we think of when we say 'corset,' because of the terminology problem.
(Not that I don't deeply appreciate her translation efforts--my German is
getting better, but very slowly! =})

The earliest use of the word corset to signify the garment we're talking
about that I've found is 1611, in a French-English dictionary. 'Corsets and
Crinolines' has a passage that mentions it in 1577, but based on the modern
spelling, I'm pretty sure it was a later (late 18thC/19thC?) translation of
that passage, which was not originally written in English. The actual French
term mentioned in the passage is 'corps piqué,' which means 'quilted
body'--yet another of the many NON-corset corset-like things used before
boning became common, though there's some indication that this variation was
worn with a busk.

Which brings us back to the question of "How much stiffening is enough to
call it a corset?" For the 18thC folk here, this is the equivalent of
asking, "Can boneless jumps or a quilted waistcoat be called a pair of
stays?"

You know, I've been trying to figure out exactly what that earlier usage of
corset meant. I don't have much to back it up, but I think perhaps what it
meant (when used for a female) was what we call now a self-supporting cote,
one that shapes and supports the body through its cut alone (and perhaps a
garment that kept the belly in, for a man). It makes sense in the context
and the date range, and it also makes sense in the later context of being
co-opted for the new garment, which served basically the same purpose, just
in a different way. Opinions?

And btw, all the historical mentions of unboned but stiffened separate payre
of bodice brings up an unpleasant notion: those wench-wear bodices aren't
too far out in terms of accuracy, if they're the unboned sort! Scary, huh?
(But at least the way they're generally worn almost certainly ain't.)

Er, I mean, I'm staying off email! Yeah! That's the ticket...

-E

----- Original Message ----- 
From: "Ann Catelli" <elvestoorder@yahoo.com>
> But does 'corset', in this context, mean separate
> stiffened garment?
>
> There were garments called 'corsets' in the mid-14th
> century, too, but it's been a while since anyone
> believed that they were body shaping garments.
> What they actually were is up in the air, though I
> suspect some sort of 'body' garment, as opposed to
> hosen, just from the name.
>
> Obviously, the term has changed significantly from the
> fourteenth century to the sixteenth, but I don't know
> when.
>
> Ann in CT

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This picture is a detail from the Darmstadt Madonna. Here's the whole thing:
http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst.jpg

The hat/headdress she's wearing is great! I'm still trying to figure out
*what* the heck the thing actually is, and how to make one to wear. I
thought the 'salad' in the top was fun. :-)  I think the 'salad'is just
carnations, both the flowers and leaves, but a combination of carnations and
rosemary would smell lovely.

I have fabric for this dress that I bought a couple of years ago, but I
think it may be too heavy to just gather up, I may have to pleat it. Or I
could just go and buy something lighter, a linen or a linen blend of some
sort. I'd definitely have to wait for a sale for that though...

Sheridan

----- Original Message -----
From: "Angela Kessler" <ivyharpdotcom@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 28, 2004 9:50 AM
Subject: Re: Re: [h-cost] cartridge pleating and skirt waistbands


> I love what she's got on her head!  What is that?  And
> what is the full picture this is a detail from?  It
> looks like those could be sprigs of rosemary at the
> top of her head, and I was just reading last night in
> a "Martha Stewart Weddings" magazine about how
> rosemary "used to be" a symbol of fidelity, and good
> for brides to wear.  They had a couple of pictures of
> 1940s-ish weddings, and some vague reference which I'm
> only vaguely remembering, about how the association
> went back to medieval times.  Anyway, it looks like
> there's a man beside her, and is he holding her hands
> or are all those fingers hers?  Oh I see, some of the
> things I thought were fingers seem to be rosary beads.
>  Anyway, has anyone else heard of this "rosemary for
> brides" idea?
>
> -Angela
>
>
> --- Shane & Sheridan <shaneandsheridan@sympatico.ca>
> wrote:
> > Hi all!
> >
> > Speaking of cartridge pleating, what would
> > everyone's opinion on this gown
> > be:
> >
> >
> http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst3.jpg
> >
> > Cartridge pleat or other?
> >
> > I know someone else mentioned it earlier, but I do
> > not know if it was
> > answered:
> > What are organ pleats?
> >
> >
> > Sheridan
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
>
>
>
>
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Hi all.  I'm new to this list.  I'm on gobs of Yahoo lists and they have a
files and photos section for doing just that.  Does Indra not have something
similar?

You're so right that this group knows a lot and it would be wonderful to
have a central repository.  I know Marc Carlson's on this list.  In our
group his site is one that we accept without question for documentation <G>.
Do others on the group have sites along those lines?  A link list would be
invaluable.

Thanks
Julie, former newbie but coming up fast...

>Dang as a group...  we know a good bit...  too bad we don't have a central
>repository to store it all...
>Bridgette
>


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Susan wrote:
> On a related note for Bronze Age fans--one of the best depictions I've
ever
> seen of a Bronze Age Greek building is in _Time Bandits_. I remember just
> about falling out of my chair that someone had actually researched the
> things and put one in the movie.

Mine too.  It just took my breath away the first time I saw it.  I catch it
whenever it's on for that part and any of the bits with Ultimate Evil.
                 -Helen/Aidan


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Subject: Re: [h-cost] cartridge pleating and skirt waistbands
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 on the whole cartridge pleating disappeared.
> Elizabeth

Except, of course, in academic regalia, the body and sleeves of the robe at
the shoulder yoke (attached differently--sandwiched between the yoke and the
lining. Bjarne, is this what you meant by the way you used to do cartridge
pleats?) I'm looking lovingly at my gown as I type.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

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Shane & Sheridan wrote:

> This picture is a detail from the Darmstadt Madonna. Here's the whole thing:
> http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst.jpg
> 
> The hat/headdress she's wearing is great! I'm still trying to figure out
> *what* the heck the thing actually is, and how to make one to wear. I
> thought the 'salad' in the top was fun. :-)  I think the 'salad'is just
> carnations, both the flowers and leaves, but a combination of carnations and
> rosemary would smell lovely.

Here's the sketch that was done prepatory to the painting:

http://gallery.euroweb.hu/art/h/holbein/hans_y/2drawing/1530/09meyer.jpg

It shows Anna Meyer at about age 13, I think. Several years later she 
was engaged and the painting touched up to reflect her 'adult' status. 
According to the book I have, her headcovering is a "chaplet, a 
headdress that girls wore to church from their 15th year."



Dawn



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Angela wrote:
> I love what she's got on her head!  What is that?  And
> what is the full picture this is a detail from?  
> http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst3.jpg

It's the "Darmstadt Madonna" by Hans Holbein the Younger; you 
can find the whole painting on Web Gallery of Art:
http://www.kfki.hu/~arthp/welcome.html
Look up Holbein.

She's one of the donors (Ana Meyer, daughter of Jakob, who 
appears in the lower left).  Behind her are his two wives, who
you can see when you call up the whole.

                      -Helen/Aidan



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Subject: Re: Re: [h-cost] cartridge pleating and skirt waistbands
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Sheridan wrote:
> The hat/headdress she's wearing is great! I'm still trying to figure out
> *what* the heck the thing actually is, and how to make one to wear.

According to the attached article, Holbein did a sketch of Anna Meyer with
her hair down, then a few years later, when he completed the painting, since
she was engaged, he put her hair up in bands and aged her a bit.

It's plausible.  Just take two bands, closed to make a loop.  The larger one
goes on under the hair like a headband, then loop the braids over it and
catch them under a second, smaller one. It's open for the rosemary and
carnations, and it's got that crease in the front that a flat cylinder would
get when it's fit around a more oval head.

                              -Helen/Aidan


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Ann wrote:

But does 'corset', in this context, mean separate
stiffened garment?

There were garments called 'corsets' in the mid-14th
century, too, but it's been a while since anyone
believed that they were body shaping garments. 
What they actually were is up in the air, though I
suspect some sort of 'body' garment, as opposed to
hosen, just from the name.

Obviously, the term has changed significantly from the
fourteenth century to the sixteenth, but I don't know
when.

Ann in CT

Just to make things easier, I've copied the translation Katherine Barich did of this section of the _Textiler_Hausrat_:

Unlike the “Brüstlein” and the “Leiblein” (outer bodices) in the 
inventories, the linen underclothing known as a Mieder (corset) 
was worn both above and beneath the shirt/chemise (Hemd). In 
1550 Margarethe Clatz left “1 old white corset (mutter) over a 
shirt/chemise”. (196) The Patrician Margarethe Rieter possessed 
an unusually large number of eight corsets (Miedern) “new and 
old, over and under the shirt/chemise (Hemet).” (197) At least 
according to the material the corsets demonstrable in the Nurnberg 
sources differed from the aforementioned bodices in the probates 
of the princely and noble. Maria Jacobaa Fugger left behind in 
1588 2 corsets (untermieder) made of Macheier (wool, possibly 
mohair) and Sendal (Zendeldort). (198) 22 year old Pflazgrafin 
(countess) Sabina von Neuburg, desceased in 1598 wore under her 
burial clothes and underdress (unterrock) a now preserved light 
brown corset of moiré silk. (Illustration 81) (199) Whether the 
extant corset of the Pfalzgrafin in the Bavarian National Museum 
in Munich, and the pieces mentioned in the Nurnberg inventories 
are parallel can not be determined based on the available 
sources. But the notable number of 8 corsets in the clothing 
index of Margarethe Rieter alone probably reference a fashionable 
leadership role of the city dwelling upper class, here in regard 
to the close proper fit of the upper body clothing in the style of 
Spanish fashion.

Footnotes:
194 See page 73.
195 From GNM HG 4063
196 StaN, LI5, fol. 41v-42r.
197 GNM, K-A (see footnote 10).
198 Karen Stolleis: The Clothing of Maria Jacobaa Fugger 
(156201588). In: Documenta Textilia. Writing for Sigrid Muller-
Christensen. Munich 1981, page 357 – 370, especially 363-364.
199 Munich, Bavarian National Museum, Inventory Number T 4111. – 
Karen Stolleis: The Clothing of the Lauinger Count’s Vault. 
Forschungsheft 3, edited by the Bavarian National Museum, Munich, 
1977, catalog #3.

Illustrations:
81 Corset (untermieder) of 22 year old Pfalzgräfin Dorothea 
Sabina von Neuburg (died 1598).

For those unfamiliar with the _TH_, it's an in-depth study of 16th and 17th C. Nurnberg costume, as documented through the probate inventories and wills filed during that period. IIRC, it was published some time in the late 1970s or early 1980s; a friend of mine brought a copy back from Germany after her honeymoon there in the mid-1980s. As useful as the book is (it's considered to be nearly indispensible for Renaissance German costuming), there are no plans to republish it or translate it to English; Katherine Barich has been (with the permission of the author) working on a personal translation for the past 2 years.

The translated portions can be found in the "Files" section of the GermanRenCostume list at Yahoo:

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

For those researching waffenrocks, there are also jpegs of the pages from Milia Davenport's _History_of_Costume_ and Blanche Payne's _History_of_Costume_ covering construction of the bases in the collection of the Metropolitan Museum of Art in NYC. Payne also included (a la Janet Arnold) a gridded pattern of the  bases that can be used for construction purposes. 

Dawn



Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Absolutely!  As someone who burns very easily, I love having an excuse 
to spend all my outdoor time covered from neck to wrist to ankle, and my 
hair covered to protect it too!  I just get very freckled on my hands, 
and pink on the end of my nose.

Jean


In message <5.2.0.9.0.20040527090234.025e8558@mail.katiesorchids.com>, 
Katie Pleasance <Katie@katiesorchids.com> writes
>Maybe we could look upon the sunburn as righteous punishment for 
>inappropriate apparel?
>
>Katie, who sometimes has evil thoughts ...
>
>
>> >Our most recent faire, in addition to chain mail bikinis, had a couple of
>> >gals wearing one whole rabbit skin.  Most of it went into the bottom with a
>> >couple of poofs for the top...and she was skinny with a little belly.
>>
>>When I see such people at faire, I always hope that they have 
>>remembered to put on enough sunscreen. Otherwise they are likely to 
>>wind up with sunburns in a lot of very uncomfortable places....
>
>
>
>_______________________________________________
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-- 
Jean Waddie
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Subject: Re: [h-cost] cartridge pleating and skirt waistbands
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The full thing is the Darmstadt Madonna - see it here
http://gallery.euroweb.hu/index1.html  Click on the "i" for who 
everybody is - the donor and his two wives, this figure is his daughter.

I think her hair is just bound with two bands of trim, plus the red 
stuff and the "rosemary".  The white bits that seemed to be standing up 
are her mother's collar, and I think the bit going backwards from her 
shoulder and the bit apparently hanging down from her back are also part 
of her mother's clothing.

Jean

Angela Kessler <ivyharpdotcom@yahoo.com> wrote
>I love what she's got on her head!  What is that?  And
>what is the full picture this is a detail from?  It
>looks like those could be sprigs of rosemary at the
>top of her head, and I was just reading last night in
>a "Martha Stewart Weddings" magazine about how
>rosemary "used to be" a symbol of fidelity, and good
>for brides to wear.  They had a couple of pictures of
>1940s-ish weddings, and some vague reference which I'm
>only vaguely remembering, about how the association
>went back to medieval times.  Anyway, it looks like
>there's a man beside her, and is he holding her hands
>or are all those fingers hers?  Oh I see, some of the
>things I thought were fingers seem to be rosary beads.
> Anyway, has anyone else heard of this "rosemary for
>brides" idea?
>
>-Angela
>
>
>--- Shane & Sheridan <shaneandsheridan@sympatico.ca>
>wrote:
>> Hi all!
>>
>> Speaking of cartridge pleating, what would
>> everyone's opinion on this gown
>> be:
>>
>>
>http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst3.jpg
>>
>> Cartridge pleat or other?
>>
>> I know someone else mentioned it earlier, but I do
>> not know if it was
>> answered:
>> What are organ pleats?
>>
>>
>> Sheridan
>>
>>
>> _______________________________________________
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>
>
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>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <BCDCE272.4746%ruthanneb@mindspring.com>
Subject: Re: [h-cost] cartridge pleating and skirt waistbands
Date: Fri, 28 May 2004 20:48:47 +0200
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Hi,
I know how to make real cartidge pleats and put them to a waistband. I did
this for the baroque dress for Nicole Kipar.
The pleats i made in 18th century was knife pleats, but put into the
linning.
Skirt is pleated first, then folded and then sewed on to the edge of
bodice - this is the way i should have done!

Bjarne


----- Original Message ----- 
From: "ruthanne baumgartner" <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 28, 2004 6:34 PM
Subject: Re: [h-cost] cartridge pleating and skirt waistbands


> on the whole cartridge pleating disappeared.
> > Elizabeth
>
> Except, of course, in academic regalia, the body and sleeves of the robe
at
> the shoulder yoke (attached differently--sandwiched between the yoke and
the
> lining. Bjarne, is this what you meant by the way you used to do cartridge
> pleats?) I'm looking lovingly at my gown as I type.
>
> --Ruth Anne Baumgartner
> scholar gypsy and amateur costumer
>
> _______________________________________________
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Subject: [h-cost] clothing and sunburn
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I guess we have Coco Chanel to credit/blame for being the lender in making
suntanning fashionable among those who did not have to labor outside and
could afford to be sun-protected from head to toe.(Of course, she smoked too
and looked even older than she was was she died) Our
grandmothers/greatgrandmothers were correct in persisting that suntanning
was aging--they knew something we've ignored until recently. Although I'm a
brunette, I burn easily, and refuse to do the tanning salon or artificial
tan--my hands look enough older than the rest of me as it is. Rather strange
that fashion still advocates a year-around tanned look as healthy as well as
wearing as few clothes as possible. And, of course, fashion magazines have
to promote tanning and anything that ages the skin on one page and products
and proceedures that are supposed to reverse said aging on the next.

Cindy Abel


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> this is interesting.   how does it work?
Like this http://www.vertetsable.com/demos_cartridgepleating.htm

> are you saying that raw edges
> of fabric hang out on the outside?  are the pleats on the outside or is
> the bodice on the outside?
The outermost region of the upper edge of the pleat is attached to the lower
edge of the bodice. It's so hard to explain with words! I hope the picture
is clear enough so you can see.

>  or don't they overlap at all?
They don't overlap, they're butted.

>  or is the
> top of the skirt hemmed before pleating?
Yes.

>, is the bodice finished on the
> edge before it has the pleats added onto it?
Yes.
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Subject: Re: Re: [h-cost] cartridge pleating and skirt waistbands
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>  Anyway, has anyone else heard of this "rosemary for
> brides" idea?

Why do you say she's a bride? Do you have the title of the painting (I might
have missed a post...).

> http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst3.jpg

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From: Angela Kessler <ivyharpdotcom@yahoo.com>
Subject: Re: Re: [h-cost] cartridge pleating and skirt waistbands
To: Historical Costume <h-costume@indra.com>
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No, now that I have seen the full painting, it doesn't
look at all like she's a bride.  My reasoning was more
in the other direction, that if brides wore rosemary,
and she was wearing rosemary, she might be a bride
(which would have been interesting in that it would be
one example of a bride in a white dress).  I still
don't know whether to give much credence to the idea
that brides wore rosemary, though.

-Angela


--- Audrey Bergeron-Morin <audreybmorin2@hotmail.com>
wrote:
> >  Anyway, has anyone else heard of this "rosemary
> for
> > brides" idea?
> 
> Why do you say she's a bride? Do you have the title
> of the painting (I might
> have missed a post...).
> 
> >
>
http://gallery.euroweb.hu/art/h/holbein/hans_y/1531/1darmst3.jpg
> 
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Angela wrote:
> No, now that I have seen the full painting, it doesn't
> look at all like she's a bride.

The Darmstadt Madonna is a donor painting.  On the left  below the Madonna
is Jakob Meyer and his two sons (deceased).  On the right are both of his
wives, Magdalena Baer (the first) and Dorothea Kannengiesser (the second)
and his surviving daughter, Anna Meyer.  The painting was completed after
she was engaged, but before her marriage.  Her sketch, which was done a
couple of years earlier, had her hair down and loose.  When the painting was
completed, Holbein painted it with it up, more appropriate to her new
status.  She's not a bride yet.
                   -Helen/Aidan


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Subject: Re: [h-cost] donor painting?
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Helen Pinto wrote:
> 
> The Darmstadt Madonna is a donor painting.  

what's a donor painting?

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These are those religious paintings where the person who commissions the
work (often a triptych to be hung behind the altar in a church) has him or
herself painted in.  The donor could be a single person, a husband and wife,
or the whole family.  You donate, but everyone knows you did it.
Lots of artists did these works, like Memling, Massys, Bosch, Ghirlandaio,
van Eyck, Durer, el Greco, Lippi, and van der Weyden.  There are famous
triptychs and paintings by all of them; some almost specialized in them.
(There's money in those commissions.)  The donor or donors usually appear
off to the sides or at the bottom, or in the case of a triptych, in the side
panels; although there's an "Adoration of the Magi" by Grien, where the
donor, the Archbishop of Magdeburg, had himself painted into the centre
panel, right there with the three Wise Men.
                          -Helen/Aidan


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-----Original Message-----
--sue, who's never dared a Venetian, herself!


This is good as I have heard it is not wise to dare a Venetian, you never
know what they'll do. :)


De

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Hi, All. Just a comment on the firearms thingie. I wouldn't say they 
were "very" inaccurate, but as you note, the birds were abundant. We 
also have a modern conception of fair play when hunting which comes from 
modern sporting rules. In 1628, you could load with goose shot and just 
go down to the local pond and shotgun quite a few birds as they were 
sitting in the water. No bother to wait until they took flight, why make 
your job harder?  Deer and turkey are a bit different to hunt. Most of 
the colonists and all of the Naturals wanted better firearms, from both 
the ignition standpoint and the bore (firelock instead of matchlock, and 
rifled if you could get them, but that was pretty high quality) The lack 
of match makes it easier to hunt, because the game doesn't smell the 
smoke. Effective range for a smoothbore piece (depending on the 
marksman) is about 60-80yds, certainly a joke if you compare modern 
firearms. Obligatory Costume content : does anyone know when, where and 
why we have the image of "The Pilgrims" wearing buckles on their hats 
and shoes, big buckled belts, 1660s style collars and "blunderbusses" 
(coach guns), when they are supposed to be from the 1620s? I assume 
Victorianism, but any real details? Is there one particular artist to 
blame? Mike T.

> since firearms of the day were very inaccurate and
>airbourne food sources weren't as abundant in 2003 as they were in 1628
>where one could just aim at the sky when flocks of birds were in flight and
>be almost sure to bring down something for dinner.
>
>
>  
>


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Subject: RE: [h-cost] central repository?
Date: Sat, 29 May 2004 12:38:19 +1000
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>>> this group knows a lot and it would be wonderful to
have a central repository.

-----
It's a great idea but may cause more harm than good.

Do you want to go to the supermarket and buy your meat wrapped in plastic on
a foam tray or do you want to buy exactly what you want from a knowledgeable
butcher?

The problem with pre-arranged archives of information is that they too
easily become law without question regardless of origin or research.

The great thing about a list like this is that comments can be inspected,
corrected, updated and reviewed with speed and ease by experts in various
fields. The on-going forum nature of this list keeps discussion alive and
can throw in jogs-of-memory (all the side notes and lingering memories that
came up during the recent Troy posts are a good example).

The other value here is the direct contact with people rather than through a
pre-set screen sponsored by LavaLife. As I explained to a group of student
costumers who had the recent mis-fortune to have me speak to them, costuming
can be a solitary pursuit: costumers scramble away at their work and pop
their heads up every three months for a quick look around before getting
onto the next project. It is nice to know there are others out there
hammering their thumbs and catching their fingers under size 18 machine
needles,

-C.

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Subject: [h-cost] Anne Meyer and Rosemary
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-----Original Message-----
No, now that I have seen the full painting, it doesn't
look at all like she's a bride.  My reasoning was more
in the other direction, that if brides wore rosemary,
and she was wearing rosemary, she might be a bride
(which would have been interesting in that it would be
one example of a bride in a white dress).  I still
don't know whether to give much credence to the idea
that brides wore rosemary, though.

-Angela

I have noted that when books show the Anne Meyer most will say she is
wearing her wedding dress. Though I would think that being that she was in
her "Sunday best" she probably got married in that dress.

As for the Rosemary, it was a custom in many of the northern regions of
Europe and perhaps elsewhere that a sprig of rosemary should be in the
bridal bouquet so that after the wedding the sprig would be planted in the
front of the house. If the sprig grew and flourished then it was said that
the woman was in charge of the household and if it died the man was in
charge. So goes the folktale I had read.
Also, rosemary is a symbol of remembrance/memory. I am more incline to think
it is the latter then the former for her holding the rosemary.

De



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thanks, that's interesting.   I don't remember hearing about this
before.    Kitty

Helen Pinto wrote:
> 
> These are those religious paintings where the person who commissions the
> work (often a triptych to be hung behind the altar in a church) has him or
> herself painted in.  The donor could be a single person, a husband and wife,
> or the whole family.  You donate, but everyone knows you did it.
> Lots of artists did these works, like Memling, Massys, Bosch, Ghirlandaio,
> van Eyck, Durer, el Greco, Lippi, and van der Weyden.  There are famous
> triptychs and paintings by all of them; some almost specialized in them.
> (There's money in those commissions.)  The donor or donors usually appear
> off to the sides or at the bottom, or in the case of a triptych, in the side
> panels; although there's an "Adoration of the Magi" by Grien, where the
> donor, the Archbishop of Magdeburg, had himself painted into the centre
> panel, right there with the three Wise Men.
>                           -Helen/Aidan
> 
> _______________________________________________
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don't forget the stories about the turkey.   they just walked up and
caught them.  it didn't take long for a lot of settlers to catch
themselves a flock of them and many domesticated them.    


> > since firearms of the day were very inaccurate and
> >airbourne food sources weren't as abundant in 2003 as they were in 1628
> >where one could just aim at the sky when flocks of birds were in flight and
> >be almost sure to bring down something for dinner.

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Hi, All. Dot, thanks for the link. I just listened to the interview of 
Jack Lecza, the "Cape Merchant" from "Colonial House" . I knew I liked 
the guy! He has a good background, and sounds like he is about 1 step 
away from being a reenactor...it also answered my question about why he 
looked so squared away, his doublet and breeches were tied in. It's a 
shame that he didn't go to Plimoth for training, they could have taught 
him an easy way to use the "facilities" without spending all that time 
unlacing his breeches from his doublet. That is why I use hooks and eyes 
(but I'm tied in in my 15th Cent. stuff, so I feel for him). Thanks 
again, Mike T.


> New Hampshire Public Radio just ran an interview of one of the 
> particapants on "Colonial House" . It shows a very different and a 
> behind the scenes  view of the program.   It can be heard at  New 
> Hampshire Public Radio



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I know of a couple as early as the 13th c. and it persisted at least through
the 17th c.   Caravaggio even painted a couple.  Originally, it was the
nobility, but by the late 15th c., they were being commissioned by the
wealthy burgesses in the cities.  It was a perfect combination of piety and
conspicuous consumption.  And the best part was that all your neighbors had
to look at your portrait every Sunday during Mass.
              -Helen/Aidan


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Subject: Re: [h-cost] RE: Tornadoes  and Colonial House
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Hi, All. From what I saw, I can't speak for the Passamaquoddy, but I'm 
pretty sure that Ramona and the folks from Plimoth (actually, the 
adjacent Wampanoag village, part of the site) are wearing fairly 
accurate renditions. They aren't anything like my local folks (Lenape) 
who have had so much Plains influence while living in Oklahoma that they 
don't really know what they once wore (even though there are 
illustrations, albeit done by Europeans). That is a touchy subject 
amongst some tribal groups, as they won't go near anything that has the 
taint of "Europeanism". They are more comfortable with wearing something 
Native American, although not theirs, than in following anyone elses 
guidelines, but the folks that work at Plimoth are not in the same 
mindset. They have used European references to guide them. The one young 
man is actually wearing a carved stone around his neck, types of which 
have been found on sites dating to that period. I am no expert in this 
area, and indeed, neither were the "colonists". If the Wampanoag hadn't 
introduced themselves as such, I wonder whether the "colonists" wouldn't 
have mistaken them for Passamaquoddy and made a large mistake?  Mike T.


>


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I am sorting through my fabric and getting rid of some and repacking others
with patterns.
I came across some yardages of metallic plaid, cotton with colored Mylar
shot through. Then suddenly a warped concept came over me. "Lets make Ren
faire kilts and use the thin gilded vinyl for a jerkin with the shimmery
gold sheer for the shirt".
Wahahahahah (maniacal laughter) hahahahahah.
:)
De

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-----snip-----
 costuming can be a solitary pursuit: costumers scramble away at their work
and pop their heads up every three months for a quick look around before
getting onto the next project. It is nice to know there are others out there
hammering their thumbs and catching their fingers under size 18 machine
needles,

-C.

****
How terribly true and OUCH.  I haven't gotten hit by a machine needle, but
I've been smacked pretty hard but the little arm that holds the needle a
couple of times

Molly


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Subject: [h-cost] Colonial House and NAs
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-----Original Message-----
Hi, All. From what I saw, I can't speak for the Passamaquoddy, but I'm
pretty sure that Ramona and the folks from Plimoth (actually, the
adjacent Wampanoag village, part of the site) are wearing fairly
accurate renditions. They aren't anything like my local folks (Lenape)
who have had so much Plains influence while living in Oklahoma that they
don't really know what they once wore (even though there are
illustrations, albeit done by Europeans). That is a touchy subject
amongst some tribal groups, as they won't go near anything that has the
taint of "Europeanism". They are more comfortable with wearing something
Native American, although not theirs, than in following anyone elses
guidelines, but the folks that work at Plimoth are not in the same
mindset. They have used European references to guide them. The one young
man is actually wearing a carved stone around his neck, types of which
have been found on sites dating to that period. I am no expert in this
area, and indeed, neither were the "colonists". If the Wampanoag hadn't
introduced themselves as such, I wonder whether the "colonists" wouldn't
have mistaken them for Passamaquoddy and made a large mistake?  Mike T.
>

I would not doubt it. There are many non NAs in the Midwest who think that
NAs only exist west of the Mississippi.
My heritage is northeastern but in the area that I am in there are many
N.Cherokee. A person of N. Cherokee decent chewed me out at a powwow and
called me a wannabe because my dress was to his eyes a poor rendition of a
Cherokee tear dress. After he finished I calmly replied that he was correct
that it was not a Cherokee tear dress and that it was a more modern version
from an 1890s KC picture of a Mohawk dress and that I am not Cherokee and
therefore did not feel like I should wear the Cherokee tear dress.

I guess I need to check up on the Mashpee and see if they were finally
recognized. Five years ago only the Aquina was recognized and the Mashpee
was still trying.

De

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Subject: [h-cost] RE: Colonial House (Tornados and Hurricanes)
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>From: michael tartaglio <mikes@dandy.net>
>Hi, All. Just a comment on the firearms thingie. I wouldn't say they
>were "very" inaccurate ... Effective range for a smoothbore piece 
>(depending on the
>marksman) is about 60-80yds, certainly a joke if you compare modern
>firearms.

I believe that if you CAN'T hit a specific target at 80 yards with a modern 
firearm with a bit of practice you should put it down and never look back.  
Just because a sewing machine makes sewing a seam faster and easier doesn't 
mean that hand sewing is not effective :)

>Obligatory Costume content : does anyone know when, where and
>why we have the image of "The Pilgrims" wearing buckles on their hats
>and shoes, big buckled belts, 1660s style collars and "blunderbusses"
>(coach guns), when they are supposed to be from the 1620s? I assume
>Victorianism, but any real details? Is there one particular artist to
>blame? Mike T.

Well, heck, everyone knows that the hat buckles were spares for their shoes 
:)

Offhand, no, but looking at the paintings in my copy of James and Patricia 
Deetz _The Times of their lives: Love, Life and Death in the Plymouth 
Colony_; I'd have to say it was probably a gradual development.   Just 
looking at the hat buckles, they aren't in the few paintings shown painted 
before "The First Thanksgivng", Henry Botkin, ca.1920.  So the may have been 
developed after the satirical painting "The Landing of the Pilgrim Fathers", 
ca. 1885.

Marc

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Subject: Re: [h-cost] Flashy
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That's sick and wrong.... sound like something I would do >:P

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historic Costume" <h-costume@net.indra.com>
Sent: Friday, May 28, 2004 8:24 PM
Subject: [h-cost] Flashy


> I am sorting through my fabric and getting rid of some and repacking
others
> with patterns.
> I came across some yardages of metallic plaid, cotton with colored Mylar
> shot through. Then suddenly a warped concept came over me. "Lets make Ren
> faire kilts and use the thin gilded vinyl for a jerkin with the shimmery
> gold sheer for the shirt".
> Wahahahahah (maniacal laughter) hahahahahah.
> :)
> De
>
> _______________________________________________
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> h-costume@mail.indra.com
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>

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> ****
> How terribly true and OUCH.  I haven't gotten hit by a machine needle, but
> I've been smacked pretty hard but the little arm that holds the needle a
> couple of times
>
> Molly

Me too! Been smacked right in the middle of my forehead I don't know HOW
many times, leaning in close to see what I'm doing better.

As for hammering the thumb..well, not my thumb, but I currently have a
lovely little bruise on my left index fingernail. Dratted grommets. And a
sore spot on the bottom of same finger, where a thorn on my rosebush jabbed
me, but that's not costume related.  :-)

Dianne

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----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historic Costume" <h-costume@net.indra.com>
Sent: Friday, May 28, 2004 11:24 PM
Subject: [h-cost] Flashy


> I am sorting through my fabric and getting rid of some and repacking
others
> with patterns.
> I came across some yardages of metallic plaid, cotton with colored Mylar
> shot through. Then suddenly a warped concept came over me. "Lets make Ren
> faire kilts and use the thin gilded vinyl for a jerkin with the shimmery
> gold sheer for the shirt".
> Wahahahahah (maniacal laughter) hahahahahah.

That's pure evil, that is.

Dianne
> :)
> De
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: Re: [h-cost] clothing and sunburn
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In a message dated 5/28/04 2:24:41 PM Central Daylight Time, 
brujne@creighton.edu writes:
Rather strange
that fashion still advocates a year-around tanned look as healthy as well as
wearing as few clothes as possible.


This is odd, but I have been recently encouraged to see the number of 
celebrities who are using the mist-on type of tanning, and are open about the fact 
that this is what they are doing.  To me, that's sort of the best of both worlds 
- you can get a nice "glowing" look when you want one, but stay healthy.

I have "Indian skin" (according to my grandmother from whom my Native 
American heritage comes) so I tend to get quite brown after a very small amount of 
time in the sun, regardless of what I do!

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Actually, I think we have the Bohemians to thank for suntanning. They were a
movement in the late 1800s, I think -- or maybe it was the early 1900s.
Anyway, they lived like gypsies and got sun tans on purpose. Lots of
intellectuals liked to hang around and camp with them for weekends, etc.
They would come back with suntans, which they could show off to their
fashionably pale friends as evidence of their brush with the wild side. The
Bohemians wore peasant clothes and scarves and flashy jewelry, let their
hair down (the women), had reputedly loose morals, were very artsy, and
lived on very little money (which they scorned). Sort of like hippies, who
were actually throw-backs to the Bohemians. I read a very good book on them,
but I don't remember the title. It was probably "The Bohemians," come to
think of it.

Gail Finke

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Flashy
Date: Sat, 29 May 2004 11:25:43 -0700
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I know that plaid.  I have about 10 yards of it that I want to make up for a
Victorian-Elizabethan Christmas.  Hmmm...  A Scottish Maharani in full sari?
Byzantine Glitz?

Regina
> ----- Original Message -----
> From: "otsisto" <otsisto@socket.net>
> To: "Historic Costume" <h-costume@net.indra.com>
> Sent: Friday, May 28, 2004 11:24 PM
> Subject: [h-cost] Flashy
>
>
> > I am sorting through my fabric and getting rid of some and repacking
> others
> > with patterns.
> > I came across some yardages of metallic plaid, cotton with colored Mylar
> > shot through. Then suddenly a warped concept came over me.
> "Lets make Ren
> > faire kilts and use the thin gilded vinyl for a jerkin with the shimmery
> > gold sheer for the shirt".
> > Wahahahahah (maniacal laughter) hahahahahah.
>
> That's pure evil, that is.
>
> Dianne
> > :)
> > De
>


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] clothing and sunburn
Date: Sat, 29 May 2004 11:35:48 -0700
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I remember when the first chemical "tanners" came out.  I bought a bottle of
it and the first day it looked fine.  The second day I looked like I needed
to be in the hospital with jaundice combined with leprosy!  The "tan" came
off on everything, including the sheets And it faded to a terrible yellow
brown!

Now they have to hope that the chemicals in the stuff doesn't cause some
reaction 10 years down the road like steroids or bonamine.

Regina


>
> This is odd, but I have been recently encouraged to see the number of
> celebrities who are using the mist-on type of tanning, and are
> open about the fact
> that this is what they are doing.  To me, that's sort of the best
> of both worlds
> - you can get a nice "glowing" look when you want one, but stay healthy.
>
> I have "Indian skin" (according to my grandmother from whom my Native
> American heritage comes) so I tend to get quite brown after a
> very small amount of
> time in the sun, regardless of what I do!
>
> -Tiffany
> Non vestimentum virum ornat, sed vir vestimentum.


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Date: Sat, 29 May 2004 14:54:57 -0500
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heheheh one of the major pattern companies just came out with a kilt pattern
hehehehe Now what would I use for a sporran? hehehe more gilded vinyl!
HAHAHAHAHHAHAHA (maniacal laugh) Spray paint the shoes metallic gold
HAHAHAHAHA (more maniacal laughter) HAHAHAHA

De

-----Original Message-----
That's sick and wrong.... sound like something I would do >:P


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From: "otsisto" <otsisto@socket.net>
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I am not nay saying your Grandmother just a note. Some people who seem to
have that "wonderful NA skin" have sometimes found that they had Basque in
them or Greek or some dark skinned  European in their lineage.
This is why I keep an open mind with my heritage as I have French in my
lineage and therefore could have Basque. (Note: My family was said to have
had as a family profession waaaay back, guillotine operators :))

De

-----Original Message-----
I have "Indian skin" (according to my grandmother from whom my Native
American heritage comes) so I tend to get quite brown after a very small
amount of
time in the sun, regardless of what I do!

-Tiffany

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In a message dated 5/29/04 3:39:25 PM Central Daylight Time, 
otsisto@socket.net writes:
Some people who seem to
have that "wonderful NA skin" have sometimes found that they had Basque in
them or Greek or some dark skinned  European in their lineage.

I'm sure this is true, but I actually have an awesome framed chalk portrait 
of my Mescalero Apache great-great-grandmother, and pretty accurate records of 
our lineage back to the early to mid 1800's.  I come from a long line of 
people who were into history, fortunately LOL.  My mother and I both look very 
Native American in many ways; the bloodline has been strong in the women in our 
family.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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This is from the Colonial "myth conceptions" quiz:

Contrary to popular belief, early English colonists during the 1620s and 
1630s did not usually wear black suits or skirts with white collars and 
cuffs. Black cloth was expensive and hard to obtain, so colonists wore 
black clothing only on Sundays or for other special occasions (if they 
had any at all). Colonists commonly wore colors such as brown, gray, 
green, beige, red, blue, and purple. Early colonists did not wear 
buckles on their shoes, hats, or clothes. Illustrators in the nineteenth 
century, three hundred years later, depicted the colonists with buckles 
on their hats and shoes because at that time, buckles were considered 
old-fashioned.

Buckles did came in to fashion late in the seventeenth century and early 
in the eighteenth century ... over 70 years after the first permanent 
colonies in New England. But thinking that the Pilgrims and their 
contemporaries wore black and white outfits adorned with buckles is like 
thinking that most people in 2003 dress the way people did in the early 
1930s ... it simply isn't true.

--Charlene
-- 
A tranquil woman can go on sewing longer than an angry man can go on 
fuming.  -- George Bernard Shaw

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In a message dated 5/29/04 1:32:03 PM Central Daylight Time, 
wandap@hevanet.com writes:
I remember when the first chemical "tanners" came out.  I bought a bottle of
it and the first day it looked fine.  The second day I looked like I needed
to be in the hospital with jaundice combined with leprosy!  The "tan" came
off on everything, including the sheets And it faded to a terrible yellow
brown!

Oh, gosh, no not that stuff LOL.  They have mist-on tans now at the tanning 
salon, where they take basically an airbrush and spray the tan on you evenly 
and professionally.  It lasts 2-3 weeks or so, and *generally* doesn't come off 
on clothing, although I've heard from friends that have done it, both that it 
doesn't and that it can.  But it's a very natural look.

-Tiffany
Non vestimentum virum ornat, sed vir vestimentum.
*******************************
Reflections*of*Worth
http://stores.ebay.com/Reflections-of-Worth
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Subject: [h-cost] Has Joanne Fabrics really sunk this low?
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Well all, I've heard your reports about how Joanne Fabrics only hire 
part-timers who know little or nothing about sewing, and today confirmed it.

I was taking advantage of the 99 cent Simplicity pattern sale, and the 
checkout girl asked, "Do you sew your own clothes?", in wonderment.  I 
replied yes, and she said, "That's cool".

Hubby found it funny, but I thought it was too sad to be funny.
Michelle

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From: Kitty Felton <basyefelton@floodcity.net>
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I guess we're lucky around here.  When I go into the Joanne's in
Johnstown, PA, I can count on every employee in there knowing SOMETHING
about what they sell, one may sew clothing, one quilts and one might do
crafts but they all know about some part it.   Kitty

Michelle Plumb wrote:
> 
> Well all, I've heard your reports about how Joanne Fabrics only hire
> part-timers who know little or nothing about sewing, and today confirmed it.
> 
> I was taking advantage of the 99 cent Simplicity pattern sale, and the
> checkout girl asked, "Do you sew your own clothes?", in wonderment.  I
> replied yes, and she said, "That's cool".
> 
> Hubby found it funny, but I thought it was too sad to be funny.
> Michelle
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: Re: [h-cost] Flashy
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Who do you think you are, TEDDY?  bwah ha ha ha.....

Seriously I do theatrical costuming, I'm about to do Pippin.  You folks who
do "authentic" medieval better close your eyes... Let's see, we've got a tye
dyed hennin and wimple set, leather strappy armor ala "Arthur" the movie,
and some sheer black net for "leggings."  Your outfit sounds normal to me...
SCARY

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

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

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historic Costume" <h-costume@net.indra.com>
Sent: Friday, May 28, 2004 8:24 PM
Subject: [h-cost] Flashy


> I am sorting through my fabric and getting rid of some and repacking
others
> with patterns.
> I came across some yardages of metallic plaid, cotton with colored Mylar
> shot through. Then suddenly a warped concept came over me. "Lets make Ren
> faire kilts and use the thin gilded vinyl for a jerkin with the shimmery
> gold sheer for the shirt".
> Wahahahahah (maniacal laughter) hahahahahah.
> :)
> De
>
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Subject: Re: [h-cost] sleeveless or tank-style chemises in-period
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An illuminator from 15th century Germany known as "Martinus Opifex" did a lovely illustration of a couple about to get into bed where she is wearing a sleeveless chemise.  It is about mid-calf, somewhat fitted at the waist.  The top has a few gathers or pleats that are finished off by a band and attached straps.  Unfortunately Google can't seem to find hardly any pictures by this artist, let alone the one I want.

Janet
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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] cartridge pleating and skirt waistbands
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----- Original Message -----
From: "ruthanne baumgartner" <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 29, 2004 2:34 AM
Subject: Re: [h-cost] cartridge pleating and skirt waistbands


> on the whole cartridge pleating disappeared.
> > Elizabeth
>
> Except, of course, in academic regalia, the body and sleeves of the robe
at
> the shoulder yoke (attached differently--sandwiched between the yoke and
the
> lining. Bjarne, is this what you meant by the way you used to do cartridge
> pleats?) I'm looking lovingly at my gown as I type.
>
> --Ruth Anne Baumgartner
> scholar gypsy and amateur costumer

I don't understand how they can be cartridge pleats and be sewn between two
layers of fabric, if you sew it between layers of fabric then they have to
be flattened and therefore are not cartridge pleats but box pleats (or
possibly knife pleats if you push the pleat to the side rather than
squashing it down in the middle) because it's been squashed flat, cartridge
pleats can't be squashed flat or they're not cartridge pleats anymore.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
Elizabeth Kubler-Ross

The years that a woman subtracts from her age are not lost. They are added
to the ages of other women.
Diane de Poitiers (1499-1566) Attrib.

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References: <200405291806.21204.mplumb@wideopenwest.com>
Subject: Re: [h-cost] Has Joanne Fabrics really sunk this low?
Date: Sat, 29 May 2004 22:32:53 -0700
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what do you expect for minimum wage and no benefits?

B
----- Original Message ----- 
From: "Michelle Plumb" <mplumb@wideopenwest.com>
To: "H-Costume List" <h-costume@indra.com>
Sent: Saturday, May 29, 2004 3:06 PM
Subject: [h-cost] Has Joanne Fabrics really sunk this low?


> Well all, I've heard your reports about how Joanne Fabrics only hire
> part-timers who know little or nothing about sewing, and today confirmed
it.
>
> I was taking advantage of the 99 cent Simplicity pattern sale, and the
> checkout girl asked, "Do you sew your own clothes?", in wonderment.  I
> replied yes, and she said, "That's cool".
>
> Hubby found it funny, but I thought it was too sad to be funny.
> Michelle
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Yes. I haven't seen the movie, but the poster caught my eye and I
stopped and stared... Those blouses were being worn by  women in the
villages when I was in Romania 30 years ago. I saw them from the bus,
carrying water from wells, walking down the street... Quite lovely. The
patterns are always red.

I bought one, of course... *G* Still have it.

Now, seeing it worn under a leather bodice/corset/thing was a bit
startling... *G*

Anne
catching up on posts

Julie wrote:

> I have to agree with most of what you say about the costumes from this film.
> The one exception I have is the "Elizabethan-era embroidered chemise".  This
> was a blouse in a style with embroidery patterns typical of the Transylvania
> area.  In fact there is an exporter there currently who carries blouses just
> like it.  It was called Carpathia or something similar.  I stumbled over
> them looking for more authentic garb.
> Julie
> 
> 
> 


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Date: Sun, 30 May 2004 09:03:59 -0600 (MDT)
Subject: Re: [h-cost] Has Joanne Fabrics really sunk this low?
From: sylvia@ntw.net
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Here here!  I work part time at Joanns and am probably the most
knowledgeable employee there, having sewn for over 40 years.  I figure I
should be making 4 times what they pay me, but I get the same as the
college student with no sewing experience at all.

Sylrog>

what do you expect for minimum wage and no benefits?
>
> B
> ----- Original Message -----
> From: "Michelle Plumb" <mplumb@wideopenwest.com>
> To: "H-Costume List" <h-costume@indra.com>
> Sent: Saturday, May 29, 2004 3:06 PM
> Subject: [h-cost] Has Joanne Fabrics really sunk this low?
>
>
>> Well all, I've heard your reports about how Joanne Fabrics only hire
>> part-timers who know little or nothing about sewing, and today confirmed
> it.
>>
>> I was taking advantage of the 99 cent Simplicity pattern sale, and the
>> checkout girl asked, "Do you sew your own clothes?", in wonderment.  I
>> replied yes, and she said, "That's cool".
>>
>> Hubby found it funny, but I thought it was too sad to be funny.
>> Michelle
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Brandy Deming wrote:

> what do you expect for minimum wage and no benefits?
> 
> 
> 
>>Well all, I've heard your reports about how Joanne Fabrics only hire
>>part-timers who know little or nothing about sewing, and today confirmed
> 
> it.
> 

Having gone through the application process there, I can tell you that 
the company's primary focus for employees (at least during the screening 
of applicants) is on customer service. They seem to really prefer people 
who are happy, friendly, and helpful over people with a lot of sewing 
knowledge. There was an extensive "psych profile" type test that I went 
through last year when I applied. My sewing experience didn't seem to 
factor into the application.

I don't remember what the benefits were like, but most retail operations 
like to work people for 30-35 hours, just short of full-time, so they 
don't have to provide a full package.

I have applied for jobs at high-end couture fabric shops and been 
treated just as 'badly'. One potential employer told me he had girls 
offering to work free just to get the experience, so why should he pay 
me more than minimum wage.



Dawn



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Subject: [h-cost] re: organ pleats
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Jennifer Thompson explains organ pleats and has photos on her website 
Festive_Attyre. Here's a link - scroll down to where it says "skirt - 
part 2".
-Lisa
http://homepage.mac.com/festive_attyre/research/waffenrock/page1.html

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Subject: [h-cost] Re: cartridge pleating and skirt waistbands
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Elizabeth Walpole wrote:



I don't understand how they can be cartridge pleats and be sewn between two
layers of fabric, if you sew it between layers of fabric then they have to
be flattened and therefore are not cartridge pleats but box pleats (or
possibly knife pleats if you push the pleat to the side rather than
squashing it down in the middle) because it's been squashed flat, cartridge
pleats can't be squashed flat or they're not cartridge pleats anymore.
Elizabeth


Ooh, ooh, I know the answer to this one (because I just had to mend a student's graduation gown for her--it's a hand-me-down from an older brother).

The top of a graduation gown IS "cartridge pleated," AND "sandwiched between two layers." The sleeve cap (a gigantic thing) is cartridge pleated just like the top of a cartridge-pleated skirt. The "fashion fabric" part of the yoke is then stitched to the top of each pleat. The "lining fabric" part of the yoke is stitched to the bottom of each pleat, creating a sandwich with the pleats as the filling. I think the key is that the yoke pieces are not stitched to the very edge of the pleats, but about 1/8" in. 

_______________________

/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/

_______________________

Interestingly, it says on the diploma from the State of California that I'm accorded the rights and privileges accorded to the holder of a Bachelor of Arts, and the wearing of the black gown with pleated sleeves (and the mortarboard cap) is one of them. However, the one time when it should be necessary to wear it (a high school commencement), our administration only allows the administration to exercise the "rights and privileges." Guess it would give the lowly teachers thoughts above their station. 

Dawn



Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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From h-costume-bounces@indra.com  Sun May 30 13:39:47 2004
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Subject: Re: [h-cost] cartridge pleating and skirt waistbands
From: ruthanne baumgartner <ruthanneb@mindspring.com>
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Take a look: they're cartridge pleats. One thing that makes the sandwiching
possible is that they aren't very deep pleats; another is that the sandwich
isn't really flat. 

I've made far too many box pleats (the first kind I learned, age 11) to
mistake one for the other. The cartridge pleats on regalia (and traditional
clerical robes at least in the Prot churches) are a distinguishing element.

--Ruth Anne Baumgartner

on 5/29/04 6:31 AM, Elizabeth Walpole at ewalpole@austarmetro.com.au wrote:

> 
> ----- Original Message -----
> From: "ruthanne baumgartner" <ruthanneb@mindspring.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, May 29, 2004 2:34 AM
> Subject: Re: [h-cost] cartridge pleating and skirt waistbands
> 
> 
>> on the whole cartridge pleating disappeared.
>>> Elizabeth
>> 
>> Except, of course, in academic regalia, the body and sleeves of the robe
> at
>> the shoulder yoke (attached differently--sandwiched between the yoke and
> the
>> lining. Bjarne, is this what you meant by the way you used to do cartridge
>> pleats?) I'm looking lovingly at my gown as I type.
>> 
>> --Ruth Anne Baumgartner
>> scholar gypsy and amateur costumer
> 
> I don't understand how they can be cartridge pleats and be sewn between two
> layers of fabric, if you sew it between layers of fabric then they have to
> be flattened and therefore are not cartridge pleats but box pleats (or
> possibly knife pleats if you push the pleat to the side rather than
> squashing it down in the middle) because it's been squashed flat, cartridge
> pleats can't be squashed flat or they're not cartridge pleats anymore.
> Elizabeth
> ----------------------------------------------------------------------------
> ----
> Elizabeth Beaumont              Elizabeth Walpole
> Politarchopolis, Lochac     Canberra Australia
> ewalpole@austar.net.au
> 
> People are like stained glass windows. They sparkle and shine when the sun
> is out, but when the darkness sets in ,their true beauty is revealed only if
> there is light from within.
> Elizabeth Kubler-Ross
> 
> The years that a woman subtracts from her age are not lost. They are added
> to the ages of other women.
> Diane de Poitiers (1499-1566) Attrib.
> 
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Date: Sun, 30 May 2004 13:44:16 -0400
Subject: Re: [h-cost] Re: clothing and sunburn
From: ruthanne baumgartner <ruthanneb@mindspring.com>
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A sociology prof of mine claimed that fashions for both paleness and suntans
among women of the upper classes were marks of leisure: paleness showed that
one didn't have to toil in the fields for a living; and then later, once the
majority of the work force moved into factories and offices, tans meant one
didn't have to toil indoors for a living but could loll about in the sun (he
didn't explain how the rich would then be differentiated from the farm
laborers, but maybe the all-over tan--as opposed to overall lines, ha
ha?--would signify the loller?).

I have never attempted to verify his comments, but sounds plausible, no? at
least along the same lines as the fat-burgher theory,
look-at-me-I-can-afford-to-stuff-myself.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer


 on 5/29/04 10:39 AM, Gail & Scott Finke at gailscott@eos.net wrote:

> 
> Actually, I think we have the Bohemians to thank for suntanning. They were a
> movement in the late 1800s, I think -- or maybe it was the early 1900s.
> Anyway, they lived like gypsies and got sun tans on purpose. Lots of
> intellectuals liked to hang around and camp with them for weekends, etc.
> They would come back with suntans, which they could show off to their
> fashionably pale friends as evidence of their brush with the wild side. The
> Bohemians wore peasant clothes and scarves and flashy jewelry, let their
> hair down (the women), had reputedly loose morals, were very artsy, and
> lived on very little money (which they scorned). Sort of like hippies, who
> were actually throw-backs to the Bohemians. I read a very good book on them,
> but I don't remember the title. It was probably "The Bohemians," come to
> think of it.
> 
> Gail Finke
> 
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: cartridge pleating and skirt waistbands
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I often sandwich cartridge pleats on Victorian skirts, and have often 
seen this on original skirts and sleeves.  If you shove the skirt top 
between the turned-under seam allowances of the waistband, and hand 
whipstitch the pleats to the band on both the inside and the outside, 
the pleats don't flatten at all.  The band has to be long enough for the 
extra amount the bulk of the pleats will take up. 

Fran
Lavolta Press
http://www.lavoltapress.com

>
>The top of a graduation gown IS "cartridge pleated," AND "sandwiched between two layers." The sleeve cap (a gigantic thing) is cartridge pleated just like the top of a cartridge-pleated skirt. The "fashion fabric" part of the yoke is then stitched to the top of each pleat. The "lining fabric" part of the yoke is stitched to the bottom of each pleat, creating a sandwich with the pleats as the filling. I think the key is that the yoke pieces are not stitched to the very edge of the pleats, but about 1/8" in. 
>
>
>  
>

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From h-costume-bounces@indra.com  Sun May 30 15:56:28 2004
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Date: Sun, 30 May 2004 15:56:23 -0400
Subject: Re: [h-cost] Re: cartridge pleating and skirt waistbands
From: ruthanne baumgartner <ruthanneb@mindspring.com>
To: Historical Costume <h-costume@indra.com>
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I've taken another look at the graduation gown. On the outside the pleats
(top of pleat) are stitched to the yoke quite close to the beginning of the
pleat; on the lining side the pleats are stitched to the lining (bottom of
pleat) where the pleat ends: that is, the yoke lining is a deeper piece than
the yoke proper. Since the pleats are about 1-1/2" long, that means the
lining extends 1-1/2" into the actual sleeve (or into the body of the gown).

(yoke)  _____________
(pleats)           - - - - - - -------(unpleated fabric)
(lining)________________________

(does that illustration make any sense? it's looking along the yoke edge.
Looking perpendicular to the yoke edge, yoke, pleats, and lining look like
this.... 
                                         ________
                                         /\/\/\/\
                                         ________
but then you lose the picture of how the yoke and lining extend on the
pleat.)

--Ruth Anne Baumgartner

on 5/30/04 3:40 PM, Lavolta Press at fran@lavoltapress.com wrote:

> I often sandwich cartridge pleats on Victorian skirts, and have often
> seen this on original skirts and sleeves.  If you shove the skirt top
> between the turned-under seam allowances of the waistband, and hand
> whipstitch the pleats to the band on both the inside and the outside,
> the pleats don't flatten at all.  The band has to be long enough for the
> extra amount the bulk of the pleats will take up.
> 
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> 
>> 
>> The top of a graduation gown IS "cartridge pleated," AND "sandwiched between
>> two layers." The sleeve cap (a gigantic thing) is cartridge pleated just like
>> the top of a cartridge-pleated skirt. The "fashion fabric" part of the yoke
>> is then stitched to the top of each pleat. The "lining fabric" part of the
>> yoke is stitched to the bottom of each pleat, creating a sandwich with the
>> pleats as the filling. I think the key is that the yoke pieces are not
>> stitched to the very edge of the pleats, but about 1/8" in.
>> 
>> 
>> 
>> 
> 
> _______________________________________________
> 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: clothing and sunburn
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I spent part of my childhood on farms in Minnesota. *Nobody* would confuse 
the tan lines of the farmers and their families with those acquired by 
wearing skimpy clothes while lolling in the sun <g>.

I assume that the situation is the same today as it was 50 years ago, 
except that the smart farmers today use sunscreen.

Katie

At 01:44 PM 5/30/2004 -0400, you wrote:
>A sociology prof of mine claimed that fashions for both paleness and suntans
>among women of the upper classes were marks of leisure: paleness showed that
>one didn't have to toil in the fields for a living; and then later, once the
>majority of the work force moved into factories and offices, tans meant one
>didn't have to toil indoors for a living but could loll about in the sun (he
>didn't explain how the rich would then be differentiated from the farm
>laborers, but maybe the all-over tan--as opposed to overall lines, ha
>ha?--would signify the loller?).



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There is now a new medical recommendation for people. People seem to be low
on Vitamin D so it is recommended to get in the sun for about 2 minutes
without sunscreen. This is recommended for those who tend to stay indoors a
lot.

De


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Hi. I have met Ramona on a few occasions, and she and some other folks 
came down a few years ago to an event we were doing. We had a long 
discussion about European and Native herbal medicine (I do a program as 
a 17th cent. Barber-Surgeon and my wife as a Midwife). She is one tough 
lady, but someone you can respect even with her very strong beliefs. She 
has a fount of knowledge about the period, even regarding the Europeans, 
and is a regular contact for archaeologists when they discover her 
people's sites, for a number of reasons. This, among other of my 
reasons, is why I suspect that they had their act together regarding the 
Wampanoag clothing. Mike T.


>
>
> It was the Mashpee, as I read under the name titles. I rather liked 
> the Elder, Ramona. She was very wise, far sighted, and in modern 
> terms... she rocked!
>


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Subject: Re: [h-cost] Has Joanne Fabrics really sunk this low?
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> > Well all, I've heard your reports about how Joanne Fabrics only hire
> > part-timers who know little or nothing about sewing, and today confirmed
it.
> >
> > I was taking advantage of the 99 cent Simplicity pattern sale, and the
> > checkout girl asked, "Do you sew your own clothes?", in wonderment.  I
> > replied yes, and she said, "That's cool".
> >
> > Hubby found it funny, but I thought it was too sad to be funny.
> > Michelle

I don't get it, I mean what did she think people went into a fabric store
for? That's not just lack of knowledge about fabrics etc, that's a complete
lack of intelligence. Then again maybe she was just having one of those
blonde days, or she had just encountered a huge block of quilters/ craft
types and was relieved to find somebody who did something different.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
Politarchopolis, Lochac     Canberra Australia
             ewalpole@austar.net.au

People are like stained glass windows. They sparkle and shine when the sun
is out, but when the darkness sets in ,their true beauty is revealed only if
there is light from within.
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to the ages of other women.
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From h-costume-bounces@indra.com  Mon May 31 07:16:47 2004
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Date: Mon, 31 May 2004 07:13:59 -0400
From: "J.A.Urbik" <jaurbik@optonline.net>
Subject: Re: Spam: [h-cost] Fitted Cotehardie Web Pages
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Status: RO

Thanks, this was the page that i am looking for.  I have found a new 
friend who moved here a few months ago from New Zeland and used to have 
a several buisnesses doing tailoring and draperies so i have actually 
found a sucker...uhm...helper, who knows enough about sewing and the 
lines that i am looking for to pin the frecking pattern on me.  I had 
previously looked at the site and said WAY cool, but i can't do it.  But 
now i can....te-he, te-he, te-he!

Jordana

By the way, abnyone who wrote to me about the whale--it is still under 
tons of sand, we are lookig at sometime over summer digging it up(with a 
crew) and butchering it for the bone stuchtre for the school.  If the 
baleen is still good( which the whale people say it should be... i will 
divvy out my share then.)

Lena Strid wrote:
> http:www.cottesimple.com? There may be more.
> 
> /Lena
> 
> -----Original Message-----
> From: J.A.Urbik [mailto:jaurbik@optonline.net]
> Sent: 28 May 2004 13:59
> To: Historical Costume
> Subject: Spam: [h-cost] Fitted Cotehardie Web Pages
> 
> 
> Heya all
> 
> A while ago there were several long discussions on coteharies.  Several 
> people also posed some intrested sites with step by step picture 
> dicrections for draping on on a body.... anyone happen to rember the 
> address of those sites?
> 
> Jordana
> 
> 
> 
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From h-costume-bounces@indra.com  Mon May 31 10:33:36 2004
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Date: Mon, 31 May 2004 10:33:26 -0400
From: ruthanne baumgartner <ruthanneb@mindspring.com>
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To this knowledgeable and helpful list:

I've been preparing to direct The Merry Wives of Windsor in July, and
everything for sets and costumes was in place.

And then only 4 of the expected 20 males showed up at auditions.

We have had to change the play and, considering the talent available to us
and our previous experience with Restoration comedy, have chosen Moliere's
TARTUFFE.

What's scary about this is that the scheduled opening date is July 2.

Two years ago I did a production of The Country Wife and believe many of
those costumes can be adapted for Tartuffe.

But our set design was very particular to The Country Wife--its various
locations, the set-changing limitations of our stage, our teensy budget
($1700 is this theater's budget for a whole production, can you believe).

Moliere liked a fancy stage, and so would we, especially as we will present
all our action in one setting.

What my set designer would really appreciate is a painting of an
upper-bourgeois interior--drawing room, preferably, or some other public
domestic room. It can have people in it if necessary ;}.

And what I, as both director and costumes mistress, would appreciate is a
few images of male and female French petits-bourgeoises in day dress. I've
found an appropriate Bailiff and Royal Police Officer, so my fears for those
two specific costumes are allayed.

I'd do my own research if I had more time, but this is really a breathless
situation, and Tartuffe will be my first French play (in English translation
of course--I'm in Connecticut community theater!--but we really want a
French feel) so I don't have research already done into French styles of
this period.

Ah--what period! 1662 was Moliere's first version; 1669 was the triumphant
5-act production. So 1660s.

If anyone can point me to some good illustrations/paintings I would be
enormously grateful and hugely relieved.

Thanks in advance!

Ruth Anne Baumgartner
scholar gypsy and amateur costumer

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From h-costume-bounces@indra.com  Mon May 31 11:30:08 2004
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Date: Mon, 31 May 2004 08:28:06 -0700 (PDT)
From: Aurelia Rufinia <aureliarufinia@yahoo.com>
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Subject: [h-cost] Re: Has Joanne Fabrics really sunk this low?
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Status: RO

Speaking as a former full-time,
they-sorta-tossed-me-a-bone as far as benifits go
assistant manager...

JoAnn Fabrics treats their full-time people like crap.
 I did work 40 hours a week, and had to work for six
months before I got benefits, and the benefits weren't
that good.  As it was, my benefits came into force a
few months later.  (My store mamanger was a moron.)  I
was also paid just over minimum wage, and they
couldn't seem to understand why I couldn't afford to
drive a car.  

I sew (historical and non), I learned to quilt and
could BS my way through several other crafts.  My
manager did ask about sewing and crafting skill ion
ther interview.  She cared about it.  The corporate
end doesn't give a rats behind about anything other
than money.  

Which is why I don't feel bad at all about giving them
only a few days notice when I got another job.  

Aurelia

> 
> Having gone through the application process there, I
> can tell you that 
> the company's primary focus for employees (at least
> during the screening 
> of applicants) is on customer service. They seem to
> really prefer people 
> who are happy, friendly, and helpful over people
> with a lot of sewing 
> knowledge. There was an extensive "psych profile"
> type test that I went 
> through last year when I applied. My sewing
> experience didn't seem to 
> factor into the application.
> 
> I don't remember what the benefits were like, but
> most retail operations 
> like to work people for 30-35 hours, just short of
> full-time, so they 
> don't have to provide a full package.
> 
> I have applied for jobs at high-end couture fabric
> shops and been 
> treated just as 'badly'. One potential employer told
> me he had girls 
> offering to work free just to get the experience, so
> why should he pay 
> me more than minimum wage.
> 
> 
>


	
		
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From h-costume-bounces@indra.com  Mon May 31 11:34:40 2004
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Here is one site I know of with a variety of pictures:
http://www.marquise.de/en/1600/index.shtml

Hope that helps,

Sheridan


----- Original Message -----
From: "ruthanne baumgartner" <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 31, 2004 10:33 AM
Subject: [h-cost] Request for emergency assistance


> To this knowledgeable and helpful list:
>
> I've been preparing to direct The Merry Wives of Windsor in July, and
> everything for sets and costumes was in place.
>
> And then only 4 of the expected 20 males showed up at auditions.
>
> We have had to change the play and, considering the talent available to us
> and our previous experience with Restoration comedy, have chosen Moliere's
> TARTUFFE.
>
> What's scary about this is that the scheduled opening date is July 2.
>
> Two years ago I did a production of The Country Wife and believe many of
> those costumes can be adapted for Tartuffe.
>
> But our set design was very particular to The Country Wife--its various
> locations, the set-changing limitations of our stage, our teensy budget
> ($1700 is this theater's budget for a whole production, can you believe).
>
> Moliere liked a fancy stage, and so would we, especially as we will
present
> all our action in one setting.
>
> What my set designer would really appreciate is a painting of an
> upper-bourgeois interior--drawing room, preferably, or some other public
> domestic room. It can have people in it if necessary ;}.
>
> And what I, as both director and costumes mistress, would appreciate is a
> few images of male and female French petits-bourgeoises in day dress. I've
> found an appropriate Bailiff and Royal Police Officer, so my fears for
those
> two specific costumes are allayed.
>
> I'd do my own research if I had more time, but this is really a breathless
> situation, and Tartuffe will be my first French play (in English
translation
> of course--I'm in Connecticut community theater!--but we really want a
> French feel) so I don't have research already done into French styles of
> this period.
>
> Ah--what period! 1662 was Moliere's first version; 1669 was the triumphant
> 5-act production. So 1660s.
>
> If anyone can point me to some good illustrations/paintings I would be
> enormously grateful and hugely relieved.
>
> Thanks in advance!
>
> Ruth Anne Baumgartner
> scholar gypsy and amateur costumer
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPGEBECIAA.otsisto@socket.net>
Subject: Re: [h-cost] Re: clothing and sunburn
Date: Mon, 31 May 2004 17:38:40 +0200
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Yes i read that two. And all the muslin women who goes with weals all the
time also has need for extra Vitamin D.

Bjarne

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 31, 2004 1:06 AM
Subject: RE: [h-cost] Re: clothing and sunburn


> There is now a new medical recommendation for people. People seem to be
low
> on Vitamin D so it is recommended to get in the sun for about 2 minutes
> without sunscreen. This is recommended for those who tend to stay indoors
a
> lot.
>
> De
>
>
> _______________________________________________
> 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 May 31 11:47:20 2004
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Date: Mon, 31 May 2004 11:46:31 -0400
From: michael tartaglio <mikes@dandy.net>
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Hi, All. Ruthanne, the book that you might want to take a look at is 
"Seventeenth Century Interior Decoration in England, France and Holland" 
by Peter Thornton 1978 Yale University Press ISBN 0-300-02776-1  Images 
of petits-bourgoises can be found in "Les petits metiers a Paris au 
XVIIe siecle" by Charlotte Lacour-Veyranne for the Musee Carnavalet 
(Paris Musees) 1997 ISBN 2-87900-356-3  ISSN 1258-0716-95 F  I got my 
copy of the interior decoration book from the Phila. Museum of Art gift 
shop, and my copy of the costume book from Fred Struthers Book on Cloth 
in California (fsbks@mcn.org or call him 707-964-8662, it is in his 
current catalog as #399 pg 19 cost $26)

ruthanne baumgartner wrote:

>To this knowledgeable and helpful list:
>
>I've been preparing to direct The Merry Wives of Windsor in July, and
>everything for sets and costumes was in place.
>
>And then only 4 of the expected 20 males showed up at auditions.
>
>We have had to change the play and, considering the talent available to us
>and our previous experience with Restoration comedy, have chosen Moliere's
>TARTUFFE.
>
>What's scary about this is that the scheduled opening date is July 2.
>
>Two years ago I did a production of The Country Wife and believe many of
>those costumes can be adapted for Tartuffe.
>
>But our set design was very particular to The Country Wife--its various
>locations, the set-changing limitations of our stage, our teensy budget
>($1700 is this theater's budget for a whole production, can you believe).
>
>Moliere liked a fancy stage, and so would we, especially as we will present
>all our action in one setting.
>
>What my set designer would really appreciate is a painting of an
>upper-bourgeois interior--drawing room, preferably, or some other public
>domestic room. It can have people in it if necessary ;}.
>
>And what I, as both director and costumes mistress, would appreciate is a
>few images of male and female French petits-bourgeoises in day dress. I've
>found an appropriate Bailiff and Royal Police Officer, so my fears for those
>two specific costumes are allayed.
>
>I'd do my own research if I had more time, but this is really a breathless
>situation, and Tartuffe will be my first French play (in English translation
>of course--I'm in Connecticut community theater!--but we really want a
>French feel) so I don't have research already done into French styles of
>this period.
>
>Ah--what period! 1662 was Moliere's first version; 1669 was the triumphant
>5-act production. So 1660s.
>
>If anyone can point me to some good illustrations/paintings I would be
>enormously grateful and hugely relieved.
>
>Thanks in advance!
>
>Ruth Anne Baumgartner
>scholar gypsy and amateur costumer
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>


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From h-costume-bounces@indra.com  Mon May 31 11:50:41 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Dear Ruth,
I can see why you are nervous about this when you are opening july 2.nd
I would suggest you to look on Kipars L'age D'or wich has wonderfull
resources  from the period of Molliere.
I envy you a little, because this is one of my favourite periods.
http://www.kipar.org/resources/index.html
Bjarne


----- Original Message ----- 
From: "ruthanne baumgartner" <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 31, 2004 4:33 PM
Subject: [h-cost] Request for emergency assistance


> To this knowledgeable and helpful list:
>
> I've been preparing to direct The Merry Wives of Windsor in July, and
> everything for sets and costumes was in place.
>
> And then only 4 of the expected 20 males showed up at auditions.
>
> We have had to change the play and, considering the talent available to us
> and our previous experience with Restoration comedy, have chosen Moliere's
> TARTUFFE.
>
> What's scary about this is that the scheduled opening date is July 2.
>
> Two years ago I did a production of The Country Wife and believe many of
> those costumes can be adapted for Tartuffe.
>
> But our set design was very particular to The Country Wife--its various
> locations, the set-changing limitations of our stage, our teensy budget
> ($1700 is this theater's budget for a whole production, can you believe).
>
> Moliere liked a fancy stage, and so would we, especially as we will
present
> all our action in one setting.
>
> What my set designer would really appreciate is a painting of an
> upper-bourgeois interior--drawing room, preferably, or some other public
> domestic room. It can have people in it if necessary ;}.
>
> And what I, as both director and costumes mistress, would appreciate is a
> few images of male and female French petits-bourgeoises in day dress. I've
> found an appropriate Bailiff and Royal Police Officer, so my fears for
those
> two specific costumes are allayed.
>
> I'd do my own research if I had more time, but this is really a breathless
> situation, and Tartuffe will be my first French play (in English
translation
> of course--I'm in Connecticut community theater!--but we really want a
> French feel) so I don't have research already done into French styles of
> this period.
>
> Ah--what period! 1662 was Moliere's first version; 1669 was the triumphant
> 5-act production. So 1660s.
>
> If anyone can point me to some good illustrations/paintings I would be
> enormously grateful and hugely relieved.
>
> Thanks in advance!
>
> Ruth Anne Baumgartner
> scholar gypsy and amateur costumer
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


_______________________________________________
h-costume mailing list
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From h-costume-bounces@indra.com  Mon May 31 11:51:33 2004
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Subject: Re: [h-cost] brown and red repro fabrics on clearance
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In St Louis, it's been on sale for $1 off the regulare price.  This weekend
with the holiday sale it a % off plus 20% off your total sale.


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


----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 18, 2004 10:18 AM
Subject: Re: [h-cost] brown and red repro fabrics on clearance


> Carolyn Kayta Barrows wrote:
>
>
> > How long is the sale?  Or is it just discounted?
>
> It's on clearance, which around here means until it is sold. At a dollar
> a yard I don't expect it to stay around too long, maybe a few weeks.
>
>
> 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] Work in progres Robe a la Francaise
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Hi,

I am working on my Robe a la Francaise.
Unfortionally I think I made the sleeves at least one inch to short :-( .
And I am not totally happy with the hips.
Not sure what is wrong.
http://www.deredere.dds.nl/Robealafrancaise/Robe.html

Greetings,
        Deredere


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From h-costume-bounces@indra.com  Mon May 31 13:48:23 2004
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From: "Genie" <kerowyn@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Has Joanne Fabrics really sunk this low?
Date: Mon, 31 May 2004 11:57:44 -0500
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Hancock's is just as bad.  I work at our local store part-time for the past
7 years.(eeek)  The manager's a good guy and he' been with them over twenty
five.  Yes, customer service is an issue, but,  the average? customer likes
to have someone with a minimum of knowledge available for those how do I do
this kind of question. Sometimes the first question a customer ask is, do
you sew?

We have highschool/college students and a few older ladies, mayself
included.  The owners/company seem to think we work there for the love of
it.  For myself its a second job amd it helps pay for my fabric addiction.

Okay, back top lurking now.

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


----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 30, 2004 11:44 AM
Subject: Re: [h-cost] Has Joanne Fabrics really sunk this low?


> Brandy Deming wrote:
>
> > what do you expect for minimum wage and no benefits?
> >
> >
> >
> >>Well all, I've heard your reports about how Joanne Fabrics only hire
> >>part-timers who know little or nothing about sewing, and today confirmed
> >
> > it.
> >
>
> Having gone through the application process there, I can tell you that
> the company's primary focus for employees (at least during the screening
> of applicants) is on customer service. They seem to really prefer people
> who are happy, friendly, and helpful over people with a lot of sewing
> knowledge. There was an extensive "psych profile" type test that I went
> through last year when I applied. My sewing experience didn't seem to
> factor into the application.
>
> I don't remember what the benefits were like, but most retail operations
> like to work people for 30-35 hours, just short of full-time, so they
> don't have to provide a full package.
>
> I have applied for jobs at high-end couture fabric shops and been
> treated just as 'badly'. One potential employer told me he had girls
> offering to work free just to get the experience, so why should he pay
> me more than minimum wage.
>
>
>
> Dawn
>
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Mon May 31 13:56:43 2004
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Has Joanne Fabrics really sunk this low?
Date: Mon, 31 May 2004 11:00:54 -0700
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Considering that the main thrust of the JoAnns in this area is crafts and
"stuff" to make dust catchers with, I'm not as surprised as I might be.  The
fabric they carry seems to cater to the quilting and "costuming" crowd.  The
idea that you would spend money and Make clothing you could wear every day
may be a new one for her.  Much of my mundane wear is cheaper than I can
make it - if you take my time at my current work rate into account.  Of
course that doesn't really quite work because I've just spent 6 hours
shortening hems on pants and sleeves so that the "ready made" will actually
fit!

Do they do Home Economics and sewing any more?

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Elizabeth Walpole
> Sent: Saturday, May 29, 2004 8:14 PM
> To: Historical Costume
> Subject: Re: [h-cost] Has Joanne Fabrics really sunk this low?
>
>
> > > Well all, I've heard your reports about how Joanne Fabrics only hire
> > > part-timers who know little or nothing about sewing, and
> today confirmed
> it.
> > >
> > > I was taking advantage of the 99 cent Simplicity pattern sale, and the
> > > checkout girl asked, "Do you sew your own clothes?", in wonderment.  I
> > > replied yes, and she said, "That's cool".
> > >
> > > Hubby found it funny, but I thought it was too sad to be funny.
> > > Michelle
>
> I don't get it, I mean what did she think people went into a fabric store
> for? That's not just lack of knowledge about fabrics etc, that's
> a complete
> lack of intelligence. Then again maybe she was just having one of those
> blonde days, or she had just encountered a huge block of quilters/ craft
> types and was relieved to find somebody who did something different.
> Elizabeth
>


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From h-costume-bounces@indra.com  Mon May 31 14:20:14 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Work in progres Robe a la Francaise
Date: Mon, 31 May 2004 20:18:34 +0200
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Hi,
Deredere i think you made your bodice much two short.
This is why the pleats dont correspondent with your pocket hoops.

Bjarne


----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 31, 2004 6:18 PM
Subject: [h-cost] Work in progres Robe a la Francaise


> Hi,
> 
> I am working on my Robe a la Francaise.
> Unfortionally I think I made the sleeves at least one inch to short :-( .
> And I am not totally happy with the hips.
> Not sure what is wrong.
> http://www.deredere.dds.nl/Robealafrancaise/Robe.html
> 
> Greetings,
>         Deredere
> 
> 
> _______________________________________________
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> 

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From h-costume-bounces@indra.com  Mon May 31 14:47:09 2004
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From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Van Helsing red dress
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There is a print for sale on ebay from 1889 that has a red evening dress
that reminds me a lot of the Van Helsing red dress.  Just change the
bird on the shoulder to red sticky-uppy feathers....

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=10167&item=3726861721&rd=1


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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: bodice question, 16thC corsets
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Hi, All. Heck, in Fashion in the Age of the Black Prince there is a 
mention of a "corset", but I'm guessing that it is more a translation 
problem from Medieval French, where perhaps the author or translator 
didn't have a comparible word, so they went with "corset". I'll find the 
cite when I get my copy back (it is on loan *grumble-grumble*). Once 
again, we might be dealing with the difference between a modern  (19th 
Cent+) usage of a word versus the use in the period in question. This is 
in no way meant to doubt that there was the creation of a foundation 
garment or parts of the foundation of an extant garment that evolved 
into the "corset" or "paire of bodies". Just my two cents. If anyone 
else can find the cite, IIRC it was in the first third of the book. 
Cheers, Mike T.


>  
>


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Greetings one and all,
   Could someone give me Robin's webpage about the Gothic Fitted dress?  My
other hard-drive crashed and I lost all of my bookmarks and webpages. Thanks!


Roscelin

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From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: Re: [h-cost] Work in progres Robe a la Francaise
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Mmmm.. I am affraid your right since the sleeves are also too short..
I forget that I am taller than average..
I probably have to make new front bodice pieces.. and new sleeves.

Thanks!

Bjarne og Leif Drews wrote:

>Hi,
>Deredere i think you made your bodice much two short.
>This is why the pleats dont correspondent with your pocket hoops.
>
>Bjarne
>
>
>----- Original Message ----- 
>From: "Deredere Galbraith" <triade@kabelfoon.nl>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Monday, May 31, 2004 6:18 PM
>Subject: [h-cost] Work in progres Robe a la Francaise
>
>
>  
>
>>Hi,
>>
>>I am working on my Robe a la Francaise.
>>Unfortionally I think I made the sleeves at least one inch to short :-( .
>>And I am not totally happy with the hips.
>>Not sure what is wrong.
>>http://www.deredere.dds.nl/Robealafrancaise/Robe.html
>>
>>Greetings,
>>        Deredere
>>
>>
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In California, not much, and in Vallejo, not at all. Correction: as little as possible. The "Home Ec" teacher at the high school I teach at teaches only cooking, and the school doesn't even own any sewing machines any more. The only high school that had sewing machines had a Home Ec teacher that hated sewing and hated teaching it, so I don't think it's offered any more.
 
This has had an effect on our local community college--they no longer offer a Fashion Design and Merchandising major, as not enough students signed up to make the program viable.
 
There's only 1 high school in all of Solano County that teaches costume design (and it's in Vacaville).
 
Dawn


Dawn Jacobson
Vallejo, CA, USA

Clothes are just the costumes we wear every day.
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Subject: Re: [h-cost] Has Joanne Fabrics really sunk this low?
Date: Mon, 31 May 2004 22:11:42 -0400
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On Saturday 29 May 2004 11:13 pm, Elizabeth Walpole wrote:
> > > Well all, I've heard your reports about how Joanne Fabrics only hire
> > > part-timers who know little or nothing about sewing, and today
> > > confirmed
>
> it.
>
> > > I was taking advantage of the 99 cent Simplicity pattern sale, and the
> > > checkout girl asked, "Do you sew your own clothes?", in wonderment.  I
> > > replied yes, and she said, "That's cool".
> > >
> > > Hubby found it funny, but I thought it was too sad to be funny.

Don't assume she's a moron.  A lot of the Jo-Ann's stuff in my area is geared 
to quilters.  As Elizabeth suggested, she may have been surprised to see 
somebody buying fabric for clothing rather than a quilt.

-- 
Cathy Raymond <cathy@thyrsus.com>

"A man cannot be too careful in the choice of his enemies." 
-Oscar Wilde
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On Mon, 31 May 2004, roscelin wrote:

>    Could someone give me Robin's webpage about the Gothic Fitted
> dress?  My other hard-drive crashed and I lost all of my bookmarks and
> webpages. Thanks!

Hi, Roscelin. (Yes, I've been quiet the last week or so -- doing an art
show the last four days, and coping with a basement flood before that.)

My not-quite-a-webpage is at:

http://www.netherton.net/robin

...where you'll find a FAQ I've used as a workshop handout, and also a
collection of posts to h-cost on the GFD.

These aren't instructions, but they're reasonable guidance to someone who
already has some basic knowledge and a sense of the look they're aming
for.

This page may also be useful to the person who posted looking for
cotehardie fitting instructions. Tasha's page at cottesimple is indeed the
one with the pictures, but she also links back to my information, from
which she developed much of her initial understanding of the style.

I should also note that although Tasha has on her site an attempt at a GFD
using my preferred variation (with a straight-front seam), it was her
first try at that method and she didn't have as much success with that as
with her own method (which she'd done many times before). I know that some
people have come away from her comparison of the two methods believing
that it showed that Tasha's curved-front seam was "better," but Tasha will
be the first to tell you that it only showed that she was more experienced
with her own method! The two approaches actually involve slightly
different ways of addressing the rest of the body, something that can't be
handled by just by changing the front seam alone.

I fully expect that each individual who works on this fashion will develop
a slightly different method that works for him/her, even when working from
the same basic concepts.  The difference between Tasha's and my approaches
are minor, as we agree on the basic concepts, and the product is very
similar. Here are the differences in our approaches I can remember
offhand:
 -- I prefer the straight-front seam to minimize distortion on the lacing
edge, to provide more elevation for the bust, and to increase support and
stability for large-busted women. (I do use a curve on very small-busted
women, to create additional protrusion, but it's not the same curve Tasha
uses, and it has a different effect.)
 -- I do my fittings over a chemise, the way the dress will be worn.
 -- I work in incremental steps, by pinning on the body, removing the
dress, averaging the pinned seams to eliminate torque and to even out the
pieces side-to-side, and then sewing truer seams while the dress is off
the body. Then repeat as needed until the right degree of fit is reached.

--Robin



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Date: Tue, 01 Jun 2004 07:34:12 -0400
From: "J.A.Urbik" <jaurbik@optonline.net>
Subject: Re: [h-cost] Looking for...
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To: Historical Costume <h-costume@indra.com>
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Status: RO

Thank your for your posts.  I always find anything you say, like many 
others on this list, helpful and useful.  On looking over your stuff, I 
found that I have a question.  You mention fitting the dress on over a 
"properly fitted chemise".  By that would the chemise that I wear under 
my flemish market women dress (made from Margo Anderson's Patterns for 
Elizabethan Dress) be the appropriate type of chemise?  It is basically 
a close fitting t-tunic.

Robin Netherton wrote:
> On Mon, 31 May 2004, roscelin wrote:
> 
> 
>>   Could someone give me Robin's webpage about the Gothic Fitted
>>dress?  My other hard-drive crashed and I lost all of my bookmarks and
>>webpages. Thanks!
> 
> 
> Hi, Roscelin. (Yes, I've been quiet the last week or so -- doing an art
> show the last four days, and coping with a basement flood before that.)
> 
> My not-quite-a-webpage is at:
> 
> http://www.netherton.net/robin
> 
> ...where you'll find a FAQ I've used as a workshop handout, and also a
> collection of posts to h-cost on the GFD.
> 
> These aren't instructions, but they're reasonable guidance to someone who
> already has some basic knowledge and a sense of the look they're aming
> for.


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From h-costume-bounces@indra.com  Tue Jun  1 09:03:39 2004
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Date: Tue, 01 Jun 2004 14:00:47 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Re: clothing and sunburn
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Status: RO

Yes, that's the version I've always heard. Before the advent of cheap
package holidays, if a Northern European had a suntan it meant they were
rich and leisured enough to spend a few weeks on the Mediterranean.

>>> ruthanneb@mindspring.com 5/30/04 6:44:16 PM >>>
A sociology prof of mine claimed that fashions for both paleness and
suntans among women of the upper classes were marks of leisure: paleness
showed that one didn't have to toil in the fields for a living; and then
later, once the majority of the work force moved into factories and
offices, tans meant one didn't have to toil indoors for a living but
could loll about in the sun (he didn't explain how the rich would then
be differentiated from the farm laborers, but maybe the all-over tan--as
opposed to overall lines, ha ha?--would signify the loller?).



Kate Bunting
Library, University of Derby
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Date: Sun, 16 May 2004 19:56:19 +0100
To: h-costume@indra.com
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] The Proposal
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Just thought I'd show you what I do with all my costume info! The dolls are 
doll's house size, men 6 inches and women about 5 1/2 inches.
Here's the results of the workshop I attended yesterday. I dressed the man 
doll, a handsome fellow, I hope you'll agree!
http://homepage.ntlworld.com/lynneconnolly/The%20Proposal.htm


Lynne Connolly, GSOLFOT
The latest Richard and Rose adventure, HARLEY STREET, is here!
http://www.novelbooksinc.com/>Novelbooks Inc.
http://homepage.ntlworld.com/lynneconnolly/ <http://www.awe-struck.net/>

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