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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
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Subject: Re: [h-cost] Elizabethan embroidery
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Monday, November 01, 2004 7:29 AM
Subject: [h-cost] Elizabethan embroidery


> Hi,
> My making of the stomacher for the new dress i make, i wondered.
> I think i could make some lovely embroidered Elizabethan stomachers.
> Do you think there would be a market for this?
> If i put up some examples on my homepage? Perhaps there would be many
> american reenactors that would be interrested in this?
>
> Bjarne

I'm not sure how  cost effective it would be, hand embroidery takes up a lot
of your time and the price that reflects that amount of time and effort may
be out of a lot of peoples price range. Also the very late 16th century
style that features contrasting stomachers isn't actually that popular most
people seem to focus between the 1560s and 1580s. Some people do wear
contrasting stomachers with the earlier styles, but I don't think they are
going to be the market for hand embroidery if they don't have a problem with
mixing up several times periods in one dress they probably won't have a
problem with machine embroidery.
I worry that the price people are willing to pay will be less than what your
work is worth.
That being said, perhaps you could start by offering custom orders and see
how much demand you get. If there is a huge demand perhaps you could start
mass producing them with standard designs.
Does that help?
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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From h-costume-bounces@indra.com  Mon Nov  1 02:46:25 2004
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From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] need millinery supplies
Date: Mon, 1 Nov 2004 02:47:23 -0500
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Ooh! I was looking through the Amazon Drygoods pattern catalog tonight and came across a simple
bonnet frame. Says it's ready to cover and line in your choice of fabrics, and decorate as you
like. Only $12.50!  Sounds reasonable to me~!
In any case, that pattern catalog is amazing!

Order a catalog here: 

http://www.amazondrygoods.com/

HTH-

::Linda::


On Behalf Of otsisto
Subject: RE: [h-cost] need millinery supplies

I am not 100% sure but usually straw hat were worn in the spring and summer.
wool felted hats were fall and winter. I think one of the major patterns
makers has a pattern for a caroler's bonnet. Don't have the time right now
to look.

De


Not sure if this is what you are looking for, but its straw, and it's cheap!
As to fast, I really
don't know, I've not used this supplier.
http://www.hatsupply.com/costume_hats.htm
Scroll all the way to the bottom.

HTH-
::Linda::

-----Original Message-----
 On Behalf Of Grace Morris
[h-cost] need millinery supplies

I usually sew an earlier time period, but now I find that I need to
come up with a "Victorian" caroling outfit in pretty quick order.
Nothing fancy, just nice enough to earn $$ over the holiday season.
I'm in need of a basic straw hat base--I can handle all the decorating
myself.  Can anyone recommend a fast, on-line supplier?

Grace/Jessamyn



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Date: Mon, 01 Nov 2004 08:43:03 -0500
Subject: Re: [h-cost] Elizabethan embroidery
From: ruthanne baumgartner <ruthanneb@mindspring.com>
To: Historical Costume <h-costume@indra.com>
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Handwork is so labor-intensive that it's hard to produce for a genuine
profit, because if you charge what the work is worth (inspiration, research,
materials, time, eyestrain) there won't be many customers and if you charge
what customers will pay you won't be able to repay yourself.

That said, I'd still tell YOU, Bjarne, to go ahead.

I for one would love to be able to purchase a piece of your beautiful work,
even if I wound up displaying the stomacher on my wall for lack of
opportunities to wear it! Also, as an amateur theatrical costumer working
mostly in small theaters (where the audience is very close to the stage),
I'd be grateful for a really special piece to add to a main character's
costume, for her pleasure and the pleasure of the first rows of audience.
The costumes I make for Shakespearean productions rely on good-looking
fabric mostly in solid colors, without much in the way of applied trim; one
embroidered stomacher would elevate the look of the whole show. And because
I use mostly solid colors for the costumes, almost anything you did would
"go with" what I have. So I WOULD BE a customer.

I'm fairly confident that there are enough people on this list who have been
drooling over the pictures of your work and would love to own some of it, so
that you would be able to sell a number of pieces before you got tired of
making them!

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

 on 10/31/04 3:29 PM, Bjarne og Leif Drews at drewscph@post12.tele.dk wrote:

> Hi,
> My making of the stomacher for the new dress i make, i wondered.
> I think i could make some lovely embroidered Elizabethan stomachers.
> Do you think there would be a market for this?
> If i put up some examples on my homepage? Perhaps there would be many
> american reenactors that would be interrested in this?
> 
> Bjarne
>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] stomacher embroidery
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Hi,
I purchased a lot of the beautifull flat japanese silk thread and i started 
to embroider the stomacher.
I have also outlined some of the leaves with gold passing thread and i used 
gold spangels for the stamens of the flowers.
The camera can not catch the glow and shine of the fine silk thread, but i 
can tell you it is so beautifull.
http://www.my-drewscostumes.dk/chenillestumpwork.htm
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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References: <5.2.1.1.0.20041029181100.023800a0@64.87.54.245>
Subject: Re: [h-cost] FYI, Renaissance Dancewear news
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> She notes that she will be accepting orders for tights until the end of
> November 2004. If you are interested, please order asap. Her wares are
> shown on her web site.

I have a few pairs of her tights, and find them nearly perfect for a day's
wear. If you have the need for some, be sure to get an order in in time.

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi, 
So yesterday was Halloween on your site of the pond.
Did you have a nice evening.
Does all of you get a call of the dressed up children?

Bjarne
 who would have loved to have a look how it is.







Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] trick or treat
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Bjarne og Leif Drews wrote:
> Hi, So yesterday was Halloween on your site of the pond.
> Did you have a nice evening.
> Does all of you get a call of the dressed up children?
> 

We had great fun. We made the children do tricks for their treats. 
Imagine, if you will, a porch full of small children in costume hopping 
on one leg.....

Here are some pictures of friends:

http://www.reddawn.net/costume/halloween/jontara.jpg


And of my husband in his cowboy outfit and me in my "Evil Arwen" dress:

http://www.reddawn.net/costume/halloween/dawnjay.jpg


Again with other friends: (my husband is a wizard this time)

http://www.reddawn.net/costume/halloween/Hallowee.jpg



Dawn


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From h-costume-bounces@indra.com  Mon Nov  1 14:53:56 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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I have seen movies where they show how the children goes arround for trick 
or treat. I am green of envy on you that you have this wonderfull tradition.
When i was a child, many years ago (deep sigh) we were doing something like 
the same thing, only not for treat in form of goodies but for small money. 
We carried our money boxes and was dressed up. This was called fastelavn - 
( Lent) The tradition was very old goes back till the time when Denmark was 
catholic. We also had a party where we had to take down a barrel with a 
stick. The one who beated it down became a king, and the nearest girl was 
princess. Or if it was a girl she became queen.
This tradition has stopped. No children does it anymore and i think it is a 
shame. We had so much fun.
I loved to dress in my mothers old clothes, and i had a longhaired wig on me 
and i was maked up like a whitch. This was my favourite to be a wicked 
whitch.

Thanks for your inputs about this

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] trick or treat
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Teren was a 'pirate' this year, his first costume in 5
years that DIDN'T have wings!  Not historically
accurate, but at least inspired-he wore a colonial
ponytail wig with a hat, blue and silver frock coat
with deep pockets and knee high black boots with a
buckle.  Part of the time he went around with a hook
and large stuffed parrot, and part without. 

 His daycare provider had a sleepover for the kids on
Saturday with games and contests, and then we went
trick-or-treating at a local mall.  Hadn't intended to
really do so, but got talked into staying for the
costume contest by the mall owner and one of the
merchants.  Teren didn't win in his age group, but was
called up for a second look (there were 6 in that set
out of 30 kids!); but we won a family gift certificate
to the mall as a group!  Nick was wearing his black
Severus Snape outfit I made him and I was wearing the
red wolf mage, but with a Julian May headdress.

Teren went to 2 neighbors at their request afterwards
for trick-or-treats, and considered himself overly
supplied with candy for the year.  In fact, when we
went to the larger mall to keep our promise of Ice
Cream, he didn't want to trick-or-treat there because
he thought he had enough!

At least in this small, small portion of space,
consumerism and greed hasn't won (yet)!  But he does
like the toys at Yule/Christmas *sigh*

Angharad / Wolfcat
> Bjarne og Leif Drews wrote:
> > Hi, So yesterday was Halloween on your site of the
> pond.
> > Did you have a nice evening.
> > Does all of you get a call of the dressed up
> children?



		
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Date: Mon, 01 Nov 2004 16:45:34 -0500
Subject: Re: [h-cost] trick or treat
From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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Hi, 
We had 300 children come by before we ran out of candy. I count the treats
in advance and estimate the number of trick-or-treaters by what's left. The
past 2 years I've provided 200 treats and run out; this year I packed it in
after we'd given out all but four of the 300.

I sit on the porch with my downstairs neighbor and we just watch the
pageantry and give out treats for a couple of hours. In our neighborhood we
get everything from very imaginative home-made costumes to purchased
costumes of many lands, and also the ubiquitous kid who is too old for this
out in jeans and a sweatshirt. Some years I joke with them that they are
dressed as a rap musician, but the rappers have started dressing better than
this! Anyway I would say the most common costume this year was Spiderman, in
several manufactured versions. Disney princesses were probably the next
largest group if you count the Belles, Cinderellas, Ariels, and Auroras all
together. I didn't see any Snow Whites, though. The number of plastic masks
of Munch's "Scream" with recirculating blood were down this year from last,
perhaps out of sensitivity to the theft of the painting itself?

In our neighborhood there are also plenty of adults who don costumes as
well. One end of the street is closed off, as for a block party, and that
block most of the houses are decorated to a theme. This year's theme was
aliens and outer space, so there was a variety of Jedi, guys in jumpsuits,
and things like that down there. One house festooned in white lights and
empty gallon jugs -- i.e., the Milky Way.

My favorites of the night were a kid in a full fur wolf outfit and an adult
in black leotards and a long-nosed goblin mask who stayed in character
throughout, sneaking around corners with then nose and variously spooking
passers-by. 

We also had a flock of teenagers who dressed as various Japanese anime
characters and went to a costume contest at a local anime emporium! Truly
and international Hallowe'en!

Lauren

-

> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> 
> Hi, 
> So yesterday was Halloween on your site of the pond.
> Did you have a nice evening.
> Does all of you get a call of the dressed up children?
> 
> Bjarne
> who would have loved to have a look how it is.

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In a message dated 11/1/2004 1:50:52 PM Pacific Standard Time,  
lauren.walker@comcast.net writes:

I didn't  see any Snow Whites, though.


My four year old was a quite spiffy Snow White.  I am entirely jealous  of 
the amount of kids that you had.  We only had about six groups with 4 or  less 
in each group.  My daughter was quite miffed because she had decided  she was 
staying home to give out treats.  She had been trick or treating at  Merrill 
Lynch with her daycare on Friday, and also Saturday evening with a  hayride in 
the neighborhood.  
 
I dressed up as a gypsy fortune teller and went to a neighborhood party and  
read palms.  Unfortunately, the three men who dressed up as Hooter's Girls  
and gave lap dances to a couple of the women there were by far the hit of the  
party.
 
:)
~Kimberley
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] trick or treat
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On Mon, 1 Nov 2004, Bjarne og Leif Drews wrote:

> So yesterday was Halloween on your site of the pond.
> Did you have a nice evening.
> Does all of you get a call of the dressed up children?

Alas, it started pouring down rain here right at sunset. We only got about
three or four knocks on the door. Both of my two sons went out with their
dad, under an umbrella; one gave up after just a few minutes. We are still
loaded with candy here. I bet there are a lot of disappointed kids in this
neighborhood.

Older son was a wizard (black cape and tall cone hat that I whipped up out
of shiny black fabric with a silver reflective pattern of moon and stars).
The younger one was the Ash character from Pokemon, a costume I made five
years ago for his older brother (shirt copied from the cartoon, fingerless
gloves, Pokemon baseball cap, and stuffed Pikachu toy on shoulder).
Nothing historic here, I'm afraid, but given that it's usually rainy or
freezing cold, I tend to go for quick, comfortable, and washable.

--Robin

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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] trick or treat
Date: Mon, 1 Nov 2004 17:08:34 -0600
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Bjarne:

Halloween is very big commercially this side of the pond. It is the second
biggest holiday(next to Christmas)for sales of costumes, candy, lawn and
house decorations, etc in the U.S.  We have a few retailers here in Omaha,
Nebraska where Halloween is bigger than Christmas in terms of sales and
rentals and there are a few temporary shops that are just open a few weeks
and sell only Halloween-related merchandise. Fabric and craft stores make
mucho money selling costumes, accessories, fabric, and patterns--there is a
pattern out there somewhere to make just about anything one can imagine.
Many publishers run special issues of their magazines just to cover
Halloween cookery, costumes, and decorating for all the do-it-yourselfers.

Fewer children go house to house to trick or treat then when I was doing
it(from about 1960-1966)because as suburban and urban neighborhoods have
grown, one knows fewer of one's neighbors and cars and trucks tend to look
out less for trick or treaters. The big reason is the fear among parents of
poisoned or tainted candy. But that is mostly urban legend (false). The few
proven instances where their has been proof that a kid's candy was tainted
or poison was traced back to the child's parent or parents who were
desparate enough for money to kill their kid to collect life insurance
money.

Many parents prefer to take their kids to shopping malls where going store
to store gets kids little gifts that aren't always candy. Just as many
parents prefer to organize and host Halloween parties for their immediate
neighbors or an entire neighborhood. There are games for both kids and
adults and less emphasis on candy as treats. There are several
professionally-run Halloween houses with multiple scary effects in most
cities.

The big development in the last ten years or so has been the boom in adults
buying costumes and having and going to adults-only Halloween parties. I've
probably spent more in the last ten years than my Mom and Dad ever did--when
I was growing up either our Moms made our costumes, or we got the cheap box
kind with a matching full-face mask.  I remember being Disney's Cinderella
for three years' running from age 5- 7 because the costume still  fit.  In
those days, there was little concern about being able to see  clearly
through one's mask. It is really the one night of the year(unless you attend
Ren Faires or are a historical reinactor)when one can dress up and pretend
to be someone else. And if you have a Ren Faire, SCA, or reinactor costume,
one can wear it for extra day a year.



Cindy Abel

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] trick or treat
Date: Mon, 1 Nov 2004 17:41:04 -0700
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On Nov 1, 2004, at 4:08 PM, Cindy Abel wrote:

>
> Bjarne:
>
> Halloween is very big commercially this side of the pond. It is the 
> second
> biggest holiday(next to Christmas)for sales of costumes, candy, lawn 
> and
> house decorations, etc in the U.S.  We have a few retailers here in 
> Omaha,
> Nebraska where Halloween is bigger than Christmas in terms of sales and
> rentals and there are a few temporary shops that are just open a few 
> weeks
> and sell only Halloween-related merchandise. Fabric and craft stores 
> make
> mucho money selling costumes, accessories, fabric, and patterns--there 
> is a
> pattern out there somewhere to make just about anything one can 
> imagine.
> Many publishers run special issues of their magazines just to cover
> Halloween cookery, costumes, and decorating for all the 
> do-it-yourselfers.

I work part time at Jo-anns fabric store and the week before Halloween 
was the biggest week I've ever seen there.  On Saturday Oct 30 there 
was a line of about 15 people waiting for the cutting table.  And we 
sold out safety pins because the teenagers and college students who 
don't know how to sew just buy lengths of fabric and pin themselves up 
to create costumes for themselves.

Today the store looked like a war zone.  We haven't had time to roll up 
the remnants for weeks now so there is a mountain of fabric on one of 
the cutting tables that I don't think we'll ever catch up with.  No one 
has had time to restock the shelves for a couple weeks now and no one 
had time last night to put away the fabrics and trims from the weekend, 
so I think there was more trim on and under the cutting table than on 
the shelves.

I think I sold more fairy costume fabric than anything else this 
Halloween.  I think I should have gone into the wing business on ebay.

And now comes Christmas, our next biggest sales holiday.  Actually, it 
is probably bigger but spread out longer.

Sylrog
>

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Date: Mon, 1 Nov 2004 19:36:12 -0800
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] trick or treat
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Wisdom I Have Learned:
Never go into a fabric store on October 30th and expect to buy black thread.

<grin>
-- 
_________________________________________________________
O    Chris Laning <claning@igc.org>
|      Davis, California -  http://paternosters.blogspot.com
+     http://paternosters.home.igc.org
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] trick or treat
Date: Mon, 1 Nov 2004 23:06:29 -0500
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On Monday 01 November 2004 4:45 pm, Lauren Walker wrote:
> Hi,
> We had 300 children come by before we ran out of candy. I count the treats
> in advance and estimate the number of trick-or-treaters by what's left. The
> past 2 years I've provided 200 treats and run out; this year I packed it in
> after we'd given out all but four of the 300.

Wow.  Where do you live?  

We barely got 30; I had to unload three or four bags of candy at the office 
just to get rid of it!  


>
> I sit on the porch with my downstairs neighbor and we just watch the
> pageantry and give out treats for a couple of hours. In our neighborhood we
> get everything from very imaginative home-made costumes to purchased
> costumes of many lands, and also the ubiquitous kid who is too old for this
> out in jeans and a sweatshirt. Some years I joke with them that they are
> dressed as a rap musician, but the rappers have started dressing better
> than this! Anyway I would say the most common costume this year was
> Spiderman, in several manufactured versions. Disney princesses were
> probably the next largest group if you count the Belles, Cinderellas,
> Ariels, and Auroras all together. I didn't see any Snow Whites, though. The
> number of plastic masks of Munch's "Scream" with recirculating blood were
> down this year from last, perhaps out of sensitivity to the theft of the
> painting itself?

Wow.  Though I saw a fair number of homemade pr partly homemade costumes too. 
I remember seeing an angel, a chicken rider (yes, he had a stuffed thing 
around his middle meant to indicate a poultry steed), a Harry Potter or two, 
a Tigger, the superhero Ben Affleck played in that awful summer movie (I 
forget the name of the superhero), and a horror figure in a hockey mask.  But 
no princesses, and no "Screams".  



> In our neighborhood there are also plenty of adults who don costumes as
> well. One end of the street is closed off, as for a block party, and that
> block most of the houses are decorated to a theme. This year's theme was
> aliens and outer space, so there was a variety of Jedi, guys in jumpsuits,
> and things like that down there. One house festooned in white lights and
> empty gallon jugs -- i.e., the Milky Way.

That's cool.

We had no block party, but we had a good 5 or 6 houses decorated for Halloween 
inside and out--orange lights, skull-shaped lights, fake tombstones....


>
> My favorites of the night were a kid in a full fur wolf outfit and an adult
> in black leotards and a long-nosed goblin mask who stayed in character
> throughout, sneaking around corners with then nose and variously spooking
> passers-by.
>
> We also had a flock of teenagers who dressed as various Japanese anime
> characters and went to a costume contest at a local anime emporium! Truly
> and international Hallowe'en!

I want to move to your neighborhood!  Much, much cooler than mine, 
costume-wise.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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	<200411012306.29642.cathy@thyrsus.com>
Subject: Re: [h-cost] trick or treat
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----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 01, 2004 11:06 PM
Subject: Re: [h-cost] trick or treat


 I didn't see any Snow Whites, though. The
>> number of plastic masks of Munch's "Scream" with recirculating blood were
>> down this year from last, perhaps out of sensitivity to the theft of the
>> painting itself?

Actually, I think the "Scream" costumes are based on the movie, not the 
painting..

My three boys dressed as the Red Power Ranger, Superman, and the littlest 
was Captain Feathersword the Friendly Pirate.

We took Jimmy to the toddler/tot Trick or Treat at the local mall on 
Thursday. Lots of Disney princesses (including several very pretty Snow 
Whites), several fairies, many Spiderman suits, and one little cowboy who 
had the pony's head and front legs attached to the front of his outfit so it 
looked like he was riding the pony. Very very cute.

My DH took them trick or treating Sunday night. At one house, there was a 
man in costume hidden among several mannequins, who jumped out at the kids 
and yelled "BOO!" Tommy (age 6 and fearless) grinned at him and said "Oh, 
hi! Happy Halloween!"

I always have big plans to decorate the outside for Halloween, but I never 
have time. This year at least the paper napkins made it upstairs from the 
basement and into the drawer!

Dianne 


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Date: Tue, 02 Nov 2004 12:41:20 +0000
From: Teddy <Teddy@mdx.ac.uk>
Subject: [h-cost] Queen Arnegunde???
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Hello h-costumers,

Someone I met at the Medieval Dress and Textile Society meeting the
other weekend asked me if I know any details about Queen Arnegunde  -
which I don't.

I am hoping that the combined knowledge of the listmembers will turn up
something - details below from the person who asked me about it.....

> I am interested in the clothing of Queen Arnegunde who died 
> in 570 and was found under the Cathedral of Saint-Denis.  She 
> was consort to Clothar I and is Merovingian.  
> I have the book titled "North European Textiles Until AD 
> 1000" written by Lise Bender Jorgensen in 1992 that leads me 
> to believe that the most recent information until that time 
> was published in 1979 (page 111).  I am trying to find out if 
> there is anything in addition to, and/or more current than 
> this information.  I have found two other sources but they 
> seem to say different things.
> 
> Any information in addition to the book mentioned above on 
> her clothes or jewelry would be appreciated.
> 
> Thank you,


Thanks in advance

Teddy

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From: Marquesate <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Queen Arnegunde???
To: Historical Costume <h-costume@indra.com>
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Here you go, Teddy, I hope this helps for a start:

http://www.kipar.demon.co.uk/frankish.html

I haven't updated it, but that's because I forgot how to get into the site.
ooops. :-)

Nicole

 --- Teddy <Teddy@mdx.ac.uk> wrote: 
> Hello h-costumers,
> 
> Someone I met at the Medieval Dress and Textile Society meeting the
> other weekend asked me if I know any details about Queen Arnegunde  -
> which I don't.
> 
> I am hoping that the combined knowledge of the listmembers will turn up
> something - details below from the person who asked me about it.....



	
	
		
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: RE: [h-cost] trick or treat
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Hallowe'en is becoming more commercialised on the American model in
Britain now. "Trick or treat" was unheard of when I was a child (late
50s-early 60s), though we occasionally had parties where we dressed as
witches, made turnip lanterns (pumpkins not being a traditional British
crop) and played at bobbing for apples.
This year, some members of my reenactment society spent the day doing
living history activities at a small old manor house (partly dating back
to the 13th century) in Leicestershire. There were craft activities for
children (making masks and witches' hats) and a mock 17th century witch
trial was staged.

Kate Bunting
Library, University of Derby
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Hey, Nicole! Long time, no see!
Teddy, I think she's come up on the SCA-Authenticity list.  I'll try to 
check the archives today.
--sue, waving from waaaaay across the pond and a few mountain ranges, 
where she's busily grumping about elections and learning multi-color 
knitting.....

Marquesate wrote:

> Here you go, Teddy, I hope this helps for a start:
> 
> http://www.kipar.demon.co.uk/frankish.html
> 
> I haven't updated it, but that's because I forgot how to get into the site.
> ooops. :-)
> 
> Nicole
> 
>  --- Teddy <Teddy@mdx.ac.uk> wrote: 
> 
>>Hello h-costumers,
>>
>>Someone I met at the Medieval Dress and Textile Society meeting the
>>other weekend asked me if I know any details about Queen Arnegunde  -
>>which I don't.
>>
>>I am hoping that the combined knowledge of the listmembers will turn up
>>something - details below from the person who asked me about it.....


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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: [h-cost] Library last Weekend
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LIBRARY FREE ACCESS WEEKEND

This past weekend, we were supposed to have our free access to the Library.  At the same time, my websites' host decided to move our sites' servers from hurricane country, Pensacola, Florida to upland Tennessee.  They failed to notify me of the move.  All our websites went down during this time frame, so our guests invited for free access to the Library, our Library subscribers, and Costume Classroom students could not access our websites. Early Tuesday morning, we finally got everything on all three of websites functioning again.  

I have decided to make another free access period for this email list members from Nov. 28-30.

I am really beginning to wonder if I should go out of town.  When I was in England, Hurricane Ivan hit Pensacola.  Our website servers were in a building three blocks from the beach.  I went to Washington DC last weekend and this happened.  

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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FX (our 21 month old) was Baby Hellboy (if you heve seen the movie, he 
is shown in the opening sequence). I made him a pullover top with a hood 
and little soft horns, a pair of leggings, a tail on a velcro belt and a 
'stone hand' glove, all out of red stretch velour. He likes the hooded 
shirt and glove best.

We did not trick-or-treat, as he's just a bit too little and we had 
flash flood warnings in our area. We went to his grandparents house 
instead and met up with his cousins, pictures were taken and all were 
given candy.

The night before, Chris and I dressed up for a party - he was a blue 
devil (glued on horns I had made, his white-out contact lenses and a 
VERY nice makeup job that I am justifiably proud of, black pants, his 
'big scary boots' and a black velvet shirt with latin phrases printed 
and voided out), of the sort that you might see on Angel. I was a 
funereal ghost in a regency-inspired dress I had made a few years ago, 
with ghastly makeup, and a worn top hat with a huge drapy black bow and 
feather.

A good time was had by all.

M.
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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] Queen Arnegunde???
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> Here you go, Teddy, I hope this helps for a start:
> 
> http://www.kipar.demon.co.uk/frankish.html
> 
> I haven't updated it, but that's because I forgot how to get 
> into the site. ooops. :-)

Many thanks Nicole!

Teddy



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Subject: [h-cost] Chenille
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When was chenille first used? If it's a latish thing (which I assume to be
the case, though apparently it's at least as early as 1781) is there
anything before say around 1550 that it could be said to mimic? I've been
looking around for fancyish brocades and cut velvets, and annoyingly enough,
some of the most accurate designs are being sold in chenille. Could a finely
woven chenille fabric, by any stretch of the imagination, mimic real
renaissance era cut velvets?

-E House
Liberty in Our Lifetime - www.freestateproject.org
Coming Soon - http://www.seamcheckers.com

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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] Queen Arnegunde???
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> Teddy, I think she's come up on the SCA-Authenticity list.  
> I'll try to 
> check the archives today.


Thanks Sue, and good luck with the knitting

Teddy 
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Subject: Re: [h-cost] trick or treat
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Hi, I am new to the group but had such a wonderful Halloween, I though I
would share.

I have 5 children so we decided to do the cast of the Wizard of OZ.

Hubby was the Scarecrow
I was the Wicked Witch .
11yo son was the Tin Man.
8yo son was the Lion ( I even sculpted the latex face piece, he look just
like the one in the movie)
5yo daughter was Dorothy. (if I ever see red glitter again...  :-)
3yo daughter was Glenda
1yo daughter was a blue flying monkey (complete with hand fethered blue
wings)

Much to my childrens enjoyment we won 3 different costume contests.

They had such a wonderful time they are already planning our group costume
for next year.

I hope everyone had a wonderful, fun, and safe holiday.

Mysteri


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Bjarne

This is something I have been looking into.  In the UK the only real market
for good quality stomachers of this period are really musuems and people
with lots of money.  Most people are just not willing to pay what these
items require.  Even the simplest blackworked stomacher would take around
50-75 hours of work, at just £5 an hour (very low for such delicate work)
the labour alone would be in the order of £250-375 before any costs have
been included.  I've only found a few people willing to pay that kind of
money.  If anyone will pay that then feel free to send them my way as I
am planning a trip to the V&A to study and catalogue some of the stomachers
from this period.

Rachel

-----Original Message-----
From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
Sent: Oct 31, 2004 1:29 PM
To: h-costume@indra.com
Subject: [h-cost] Elizabethan embroidery

Hi,
My making of the stomacher for the new dress i make, i wondered.
I think i could make some lovely embroidered Elizabethan stomachers.
Do you think there would be a market for this?
If i put up some examples on my homepage? Perhaps there would be many 
american reenactors that would be interrested in this?

Bjarne


Threads of History
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Subject: Re: [h-cost] Queen Arnegunde???
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Greetings,

I don't have my notebooks in front of me, but I remember there being 
some doubt as to whether this was Arnegunde or not.  The body appeared 
to come a few years to late to be Arnegunde.  The ring inscribed, 
"Arnegundis" was the clue to her identity and may have been an 
heirloom.  The garments are currently being conserved at 
German-en-Laye.  The findings are expected to be published in the next 
few years.  I can't wait!  :D

I have a couple books in French that I haven't had a chance to 
translate, as my French is as good as two semesters in high school 
about 25 years ago can be.

I will pull my notes out and see what I can find.  It may be next week 
as I'm heading to a conference tomorrow.  (Any going to ITAA in 
Portland?)

Althea

On Tuesday, November 2, 2004, at 04:41 AM, Teddy wrote:

> Hello h-costumers,
>
> Someone I met at the Medieval Dress and Textile Society meeting the
> other weekend asked me if I know any details about Queen Arnegunde  -
> which I don't.
>
> I am hoping that the combined knowledge of the listmembers will turn up
> something - details below from the person who asked me about it.....
>
>> I am interested in the clothing of Queen Arnegunde who died
>> in 570 and was found under the Cathedral of Saint-Denis.  She
>> was consort to Clothar I and is Merovingian.
>> I have the book titled "North European Textiles Until AD
>> 1000" written by Lise Bender Jorgensen in 1992 that leads me
>> to believe that the most recent information until that time
>> was published in 1979 (page 111).  I am trying to find out if
>> there is anything in addition to, and/or more current than
>> this information.  I have found two other sources but they
>> seem to say different things.
>>
>> Any information in addition to the book mentioned above on
>> her clothes or jewelry would be appreciated.
>>
>> Thank you,
>
>
> Thanks in advance
>
> Teddy
>
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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I'm in Southern California.  We're seeing much less of the door-to-door trick or treating.  Even when I was a kid my mom wouldn't let me eat any homemade treats unless it was someone we knew.  Hospital X-ray rooms would allow you to check your candy bag because some sickos were putting razor blades and needles in the apples and candy bars.  Lots of the shopping malls have safe trick or treating for the kids - plus it brings in a lot of more potential customers.  A real win-win.  We live in an area with 2 acre properties.  We wouldn't even be able to finish our own street before we pooped out <G>.

I'm seeing lots more adult participation though.  Too much fun to let the kids have it all. <G>
Julie

> I have seen movies where they show how the children goes arround for trick or treat. I am green of envy on you that you have this wonderfull tradition.

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Date: Tue, 02 Nov 2004 15:57:22 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] Elizlabethan embroidery
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At 15:12 02/11/2004 +0000, you wrote:
>Bjarne
>
>This is something I have been looking into.  In the UK the only real market
>for good quality stomachers of this period are really musuems and people
>with lots of money.  Most people are just not willing to pay what these
>items require.  Even the simplest blackworked stomacher would take around
>50-75 hours of work, at just £5 an hour (very low for such delicate work)
>the labour alone would be in the order of £250-375 before any costs have
>been included.  I've only found a few people willing to pay that kind of
>money.  If anyone will pay that then feel free to send them my way as I
>am planning a trip to the V&A to study and catalogue some of the stomachers
>from this period.


I don't think even museums have that much money nowadays, at least, not in 
my experience. People who won't buy proper shoes for a costume are 
certainly not going to pay for Bjarne's beautiful work.

Suzi, in London



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Subject: Re: [h-cost] Chenille
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Hello,
I am sorry to say that i dont know anything about chenille before the 1700 
years.
Saint Aubin describes it in his book Art of the Embroiderer, and there are 
examples of Altar Cloths embroidered with chenille.
I think that a fine wowen chenille fabric would be a good substitute for the 
fine cut velvets. I also thoaght that some reenactors could use a chenille 
thread and embroider their forepart or whatever so that it looks like cut 
velvet.

Bjarne


----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 02, 2004 3:42 PM
Subject: [h-cost] Chenille


> When was chenille first used? If it's a latish thing (which I assume to be
> the case, though apparently it's at least as early as 1781) is there
> anything before say around 1550 that it could be said to mimic? I've been
> looking around for fancyish brocades and cut velvets, and annoyingly 
> enough,
> some of the most accurate designs are being sold in chenille. Could a 
> finely
> woven chenille fabric, by any stretch of the imagination, mimic real
> renaissance era cut velvets?
>
> -E House
> Liberty in Our Lifetime - www.freestateproject.org
> Coming Soon - http://www.seamcheckers.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: [h-cost] trick or treat
From: Lynn Downward <ldownward@chori.org>
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What a wonderful idea! One child has moved on to college so we had only the
13 year old to trick or treat, and she wanted to be with her friends not
ours. My husband and I wandered along a very busy upscale commercial street
watching other peoples' kids in their finery. Our favorite group was the
four boys dressed as early Beatles -- shaggy wigs cut just so, matching
sharkskin suits, skinny black ties and toy guitars labeled "The Beatles".
They looked marvelous.

My daughter, used to wearing historical costumes from birth, opted for a
bright green 1960s vintage dress we found at the flea market that someone
made up to look like a flapper with lots of fringe. She had the right
accessories, hair and makeup at least, but that dress... And there was
nothing I could do about it.

It's ok, I'm letting go now.

LynnD


> From: Mys <mysteri@cox.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Tue, 2 Nov 2004 08:59:50 -0600
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] trick or treat
> 
> Hi, I am new to the group but had such a wonderful Halloween, I though I
> would share.
> 
> I have 5 children so we decided to do the cast of the Wizard of OZ.
> 
> Hubby was the Scarecrow
> I was the Wicked Witch .
> 11yo son was the Tin Man.
> 8yo son was the Lion ( I even sculpted the latex face piece, he look just
> like the one in the movie)
> 5yo daughter was Dorothy. (if I ever see red glitter again...  :-)
> 3yo daughter was Glenda
> 1yo daughter was a blue flying monkey (complete with hand fethered blue
> wings)
> 
> Much to my childrens enjoyment we won 3 different costume contests.
> 
> They had such a wonderful time they are already planning our group costume
> for next year.
> 
> I hope everyone had a wonderful, fun, and safe holiday.
> 
> Mysteri
> 


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Date: Tue, 02 Nov 2004 13:57:35 -0500
Subject: Re: [h-cost] trick or treat o-t fyi
From: ruthanne baumgartner <ruthanneb@mindspring.com>
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See 

http://www.snopes.com/horrors/mayhem/needles.htm

for the full story on razors and needles (aha! if sewing needles, is it
really off-topic?).

Ruth Anne Baumgartner
scholar-gypsy and amateur costumer


on 11/2/04 10:50 AM, Julie at jtknits@jtknits.cts.com wrote:

> I'm in Southern California.  We're seeing much less of the door-to-door trick
> or treating.  Even when I was a kid my mom wouldn't let me eat any homemade
> treats unless it was someone we knew.  Hospital X-ray rooms would allow you to
> check your candy bag because some sickos were putting razor blades and needles
> in the apples and candy bars.  Lots of the shopping malls have safe trick or
> treating for the kids - plus it brings in a lot of more potential customers.
> A real win-win.  We live in an area with 2 acre properties.  We wouldn't even
> be able to finish our own street before we pooped out <G>.
> 
> I'm seeing lots more adult participation though.  Too much fun to let the kids
> have it all. <G>
> Julie
> 
>> I have seen movies where they show how the children goes arround for trick or
>> treat. I am green of envy on you that you have this wonderfull tradition.
> 
> _______________________________________________
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Subject: Re: [h-cost] trick or treat
From: ruthanne baumgartner <ruthanneb@mindspring.com>
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Most of the kids in my neighborhood were woefully polyestered this year,
with the most common being some sort of commercial hooded black T-tunic as a
"monk" costume (one original boy was also wearing a helmet with a face mask,
and announced that he was "The First Paint-Ball Monk"). On the adorable side
were two matching ponies, one pink and one blue, neither more than 30" tall.
They looked like large stuffed plush toys with human legs--I wonder where
they got those costumes! Supposedly Spiderman was the hot costume this year,
at least in this area, but I had only three of them, one of whom was
traveling with Superman. One VERY good lion, about 24" high. I mistook a
Tinkerbelle for a ballerina, although why EITHER of those possibilities
would be wearing plastic flip-flops is anybody's guess.

None came up to the wonderful achievement of two little girls last year, who
came as Old Ladies, complete with cardigans, gloves, flowered hats, curly
grey wigs, glasses, and little handbags--they were the spittin image of my
grandmother in her prime! I'd say they were wearing vintage everything with
the possible exception of their shoes, which were just flat pumps. (Well, I
can't say they were wearing grandmotherly undergarments either, but
everything I could SEE looked like the real thing.)

--Ruth Anne Baumgartner


on 11/2/04 1:37 PM, Lynn Downward at ldownward@chori.org wrote:

> What a wonderful idea! One child has moved on to college so we had only the
> 13 year old to trick or treat, and she wanted to be with her friends not
> ours. My husband and I wandered along a very busy upscale commercial street
> watching other peoples' kids in their finery. Our favorite group was the
> four boys dressed as early Beatles -- shaggy wigs cut just so, matching
> sharkskin suits, skinny black ties and toy guitars labeled "The Beatles".
> They looked marvelous.
> 

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How sad I am that in New Zealand Halloween seems to be dying out. When I
was little all the kids on my street took part (a sheet with holes cut
in was all we could muster for costumes though). This year we had only 2
groups of kids come to our house, and my daughter and her friends
decided after getting such a bad reaction from so many houses last year,
this year they would stay in, eat pizza and watch a video. 
 
In the last 5 years so many vocal 'concerned citizens' sent letters to
newspapers, posted "no Halloween here" flyers on their gates, and
generally behaved curmudgeonly, that their message seems to be getting
through. The main bugbears - treat-or-treating teaches children to beg,
and that it is an American tradition that has no place in New Zealand. I
see those same people have no problem lobbying for free-trade agreements
with the US, using a dollar as a unit of currency rather than a pound
and watching Fox news all night. And one can argue in vain with them
about the actual origins of Halloween.
 
I feel so disappointed now I won't get to make my offspring a new
costume every year, although my daughter might be glad! She was always
embarrassed that hers was so much better than everyone else's and would
often leave half the costume behind so she wouldn't look too good (Kiwis
are weird about that sometimes).
 
gabriella
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The children in the building I grew up in still trick or treat the
old-fashioned way.  Apartment buildings, particularly co-ops where everyone
knows everyone from board meetings are ideal for trick-or-treating.
Fifty-two apartments almost all with plenty of candy.  You take the back
elevator to the top and walk down, and you can always move on to your
friend's building for even more!

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I just moved to New Zealand myself from the States and was really 
disappointed in what was a virtually non-existant holiday. Halloween has 
been my favorite holiday since childhood. Not having children knocking 
on the door for the first time (well, ever really) made me very sad.

Thanks for explaining about Kiwi tradition. While I'm trying to 
assimilate here, I think this is one tradition I'll try to continue... 
even if I am the only one. I guess I can always get my fiance to knock 
on the door for me and yell "trick or treat"!

Melissa

Gabriella Trussardi wrote:

> How sad I am that in New Zealand Halloween seems to be dying out. W
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Gee, you people are all a little too much for me to contend with!

We had a fun Halloween, and we all dressed up, but we're pretty average.

My husband wore a home-made skeleton costume. He started it last year with
black sweatpants and a sweatsuit, which he painted bones on. This year he
painted the back of the suit, and bought a black ski mask which he painted a
skull and neck bones on. Yuck!

I was a pirate. I wore black pants and part of an old Renaissance dance
costume -- shirt and doublet without sleeves (actually, I liked it much
better as a pirate costume) then a bandana and tri-cornered hat.

My daughter, 10, was a "stylish witch." She wore orange and black striped
hose, an orange feather boa (both from Kmart), my witch's hat from last
year, which had black and silver feathers around the brim (bought at Joanne
Fabric) and a black dress with black tulle/gold spiderweb sleeves. That part
I made.

My son (7) wore a SWAT Team costume we bought at Kmart -- much cheaper than
I could have made it for, and he loved it.

We had a neighborhood party. The three kids next door came as the Yellow
Power Ranger, Superman, and a ninja -- all bought. The three kids across the
street came as a panther (home made), a ladybug and a lion (bought). Another
boy came as "some kind of alien" in a costume he inherited. Two other adults
dressed up -- a witch and a hippie -- and two more wore masks. It was fun. I
have a picture but no site to put it on.

Half the kids who came by did not have on any costumes. :-( But the rest
came as the usual -- brides, monsters, rock stars, superheroes. They were
adorable, and extra polite this year!

In our neighborhood, only about half the adults gave out candy. When I was
little, EVERY house gave it out. The only house on my street that didn't was
owned by Seventh Day Adventists, who don't celebrate holidays. They really
stood out. Today half the neighbors just don't bother. It's a little sad,
but on the other hand my kids got LOADS of candy, so the other half are
extra generous!

Gail Finke



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> How sad I am that in New Zealand Halloween seems to be dying out. When I
> was little all the kids on my street took part (a sheet with holes cut
> in was all we could muster for costumes though).
I'd have to disagree. I've lived in three main cities and it's only grown in
the last few years, especially in Auckland. It was non existant while I was
a child (though at home I made a cardboard witches hat once.)

This year we had four big groups of children, accompanied by an adult in
each group) and one child with his dad. We live in a very quiet
neighbourhood too, so I was surprised there were as many as did come. And
they were all dressed too... usually store bought, but a much better
selection than last year.. and the year before...

i think it must depend on what part of the country you are from.

There are parties for adults now as well, and people dressing up for
work...... far different story to when I was a child and teenager (80s and
90s)

> In the last 5 years so many vocal 'concerned citizens' sent letters to
> newspapers, posted "no Halloween here" flyers on their gates, and
> generally behaved curmudgeonly, that their message seems to be getting
> through. The main bugbears - treat-or-treating teaches children to beg,
> and that it is an American tradition that has no place in New Zealand.

I haven't seen any of that this year. Perhaps because I live in Auckland?
And there are simply too many poeple and smaller groups up here that no one
really organises a proper protest. Ahh I remeber my first year at Uni and
sitting int he middle of Queen street shouting "Lockwood is a -----"
anyway...


> I feel so disappointed now I won't get to make my offspring a new
> costume every year, although my daughter might be glad! She was always
> embarrassed that hers was so much better than everyone else's and would
> often leave half the costume behind so she wouldn't look too good (Kiwis
> are weird about that sometimes).

Hey next year I'm thinking it'll be worthwhile getting my costumes out and
greeting the children who come in ver greater numbers! It's only been the
last three years we've had kids knocking on the door, and they are
increasing in numbers, not decreasing.

I do think they should make costumes to suit the ocassion though;) It's
Spring here, and broad daylight when they come around.

So I'm going to think about setting up somehting outside, and maybe dress as
Glinda or someone in a foofy dress to suit the weather;)

I also have a plan to say "anyone wiht a better costume than me gets a
prize" Probably somehtign arts and crafty actually.. seeing as they'd be
more likely to be into that sort of thing than lollies.

We also gave out dried fruit and mueslie bars as we didn't have any lollies
in the house.

Except for some dutch liquorice.......


michaela de bruce
(constantly invited to Halloween parties that always fall through... yay for
tradition.....)
http://costumes.glittersweet.com


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michaela wrote:

> I do think they should make costumes to suit the ocassion though;) It's
> Spring here, and broad daylight when they come around.

I have often thought that the S. hemisphere should celebrate much of the 
calendar 1/2 year ahead of the N. hemisphere.  That way you could have 
Christmas in winter, April Fool's would become October Fool's Day (ie, 
in the spring) and so on.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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> I have often thought that the S. hemisphere should celebrate much of the
> calendar 1/2 year ahead of the N. hemisphere.  That way you could have
> Christmas in winter, April Fool's would become October Fool's Day (ie,
> in the spring) and so on.

Absolutely.. but then many events tied in with ancient fertility/"make the
darn sun come back" rites and comandered for other religious festivals would
be difficult because of the relious focus?

We do have mid-winter Christmas feasts if we plan ahead.

Of course in Auckland and firther North even mid-winter is snow free;)

And on dressing up topics... ummm.. well I have done caroling here. In
summer. In costume...

It's very very odd.

michaela de bruce
http://costumes.glittersweet.com


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] trick or treat
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On Tuesday 02 November 2004 9:59 am, Mys wrote:
> Hi, I am new to the group but had such a wonderful Halloween, I though I
> would share.
>
> I have 5 children so we decided to do the cast of the Wizard of OZ.
>
> Hubby was the Scarecrow
> I was the Wicked Witch .
> 11yo son was the Tin Man.
> 8yo son was the Lion ( I even sculpted the latex face piece, he look just
> like the one in the movie)
> 5yo daughter was Dorothy. (if I ever see red glitter again...  :-)
> 3yo daughter was Glenda
> 1yo daughter was a blue flying monkey (complete with hand fethered blue
> wings)
>
> Much to my childrens enjoyment we won 3 different costume contests.


That is so cool.  You should see if you can enter your troop at CostumeCon, 
sometime!

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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We had all of 7 kids ring the bell this Halloween.  This beat last year, 
when we only had 2.  The weather was pretty decent, not too cold (about 53 
deg. F) so don't know where they all were.  We might have gotten more 
except we turned the light out after one "little monster" hit the doorbell 
about 10 times, pounded on the outside door, then had the nerve to open the 
screen and pound on the wood door.  We didn't answer the door for 
him(generic him), and he ruined it for any others who might have come later.

And none of them had costumes on.

Next year we may not bother.

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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On Tuesday 02 November 2004 11:25 pm, Pierre & Sandy Pettinger wrote:
> We had all of 7 kids ring the bell this Halloween.  This beat last year,
> when we only had 2.  The weather was pretty decent, not too cold (about 53
> deg. F) so don't know where they all were.  We might have gotten more
> except we turned the light out after one "little monster" hit the doorbell
> about 10 times, pounded on the outside door, then had the nerve to open the
> screen and pound on the wood door. 

That's probably right.  In my neighborhood, there's an unwritten law that 
trick or treaters don't go to houses where the front porch light isn't on.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Date: Tue, 02 Nov 2004 21:50:10 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] trick or treat
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>We had 300 children come by before we ran out of candy.

I always buy peanut butter Halloween candy because I know I won't eat 
it.  When those round cardboard things called Pogs were popular, I got a 
bagful at the flea market and delighted the kids with them.  No calories there.

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

              //// \\\
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Hi Althea,

> I will pull my notes out and see what I can find.  It may be next week

> as I'm heading to a conference tomorrow.  (Any going to ITAA in
Portland?)

Many thanks!

Have fun at the conference!

Teddy
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Subject: [h-cost] Job Announcment: Film Costume Designer
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I just received this announcement.  If you are interested in this job, please contact the person at the end of this message.  I am just the messenger passing along this information.

************************************************************
Just got a call from a young producer who is doing a low budget 
independent film here in LA. His set costumer was just in a car wreck 
(she's OKish) but she's leaving the shoot.
Needs someone to start tomorrow.  Wardrobe department is in good shape. 
The Wardrobe Supervisor is prepared to mentor. Biggest name star is 
Sally Kirkland... some other "know" TV actors... very professional 
crew.  Good show for someone to step into if they can afford to work for 
a low non union rate.

After long conversation, my read is that this is a great crew to get to 
know and network with.

He says that even if someone can't start tomorrow, he'd like to hear 
from anyone interested even as late as next week.  If you know anyone in 
LA area who would  be able to jump in "already swimming" please pass 
this on to them.
Contact info:
Producer: Jesse Berger
Project: What's Up Scarlet?
Shooting now in LA (This week primarily in Hollywood)
Phone: 805-637-7673
***************************************************************************

Good Luck!
Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Subject: Re: [h-cost] need millinery supplies
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I have been off line for a couple of days, so this maybe OT.
I usually find a straw or felt with a slight flare (!950s-60s) and cut a U
shape from the back...about 6-7", large enough to fit the back neckline.
After binding this cut edge, I then can cover it in any desired form and
color.  Sometimes it is necessary to clip the 'wings' slightly that are the
results of the re shaping of the brim. Then add ties which are mounted on
the outside just at the edge of the 'u'.  My antique hats usually have wide
ribbon ties of about 3-4".
Kathleen
----- Original Message ----- 
From: "Grace Morris" <grace.morris@providenceday.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 29, 2004 8:57 AM
Subject: [h-cost] need millinery supplies


> I usually sew an earlier time period, but now I find that I need to
> come up with a "Victorian" caroling outfit in pretty quick order.
> Nothing fancy, just nice enough to earn $$ over the holiday season.
> I'm in need of a basic straw hat base--I can handle all the decorating
> myself.  Can anyone recommend a fast, on-line supplier?
>
> Grace/Jessamyn
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] Re: trick or treat
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We are on a fairly busy street so we don't get very many trick or
treaters, which is very disappointing for my husband who loooooves to
dress up in costume and give out the candy.  We have a screened in porch
that I decorate with cobwebs, spiders, pumpkins and orange lights.  One
year (very good weather) he hide just outside in the bushes dressed as
pumpkin head.  Probably his best year he dressed as a scarecrow and
sprawled in a camp chair in the middle of the porch, bucket-o-candy set
temptingly between his feet.  Kids had to open the screen door and come
all the way up onto the porch to get their treat.  He didn't jump at
them just said 'Hello' and moved his head but they kids were usually
wound so tight they jumped/yelled anyway.  He said one kid cleared the
door, steps & sidewalk in one leap he was out of there so fast :).  

We used to have a small group of regulars that always came by to see
what he was dress up as but it looks like they have outgrown the
door-to-door stuff.  This year it was a little cool and drizzly in our
area so we only got 3, and one of those was one of our neighboors, who
got carried over by his mother.  He is all of 18mos, I think we were his
only stop this year but I see him becoming a regular :).

Catherine
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Subject: Re: [h-cost] Re: Trick or Treat
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Pierre & Sandy Pettinger wrote:

> We had all of 7 kids ring the bell this Halloween.  ...
> And none of them had costumes on.

I don't believe there are any trick-or-treat aged children left in our 
neighborhood. The school bus drops off two or three high-school aged 
kids, but there are no little ones left.

After a similar experience our first year here, we switched to adult 
parties. It looks as if, for those of us who grew up trick-or-treating , 
that celebrating the holiday is still a part of who we are. It helps 
when a couple of us are costume nuts, we start planning in the summer, 
looking for ideas from movies or popular trends and comparing notes. 
We've had a couple sewing parties, even.

These days we go over to a friend's house on Halloween evening, in 
costume, and hand out candy in his neighborhood where we get a hundred 
or so little visitors. They are all costumed and polite. Even the 
parents dress up, and nearly every porch has a jack-o-lantern.



Dawn


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My best friend is getting married and taking her honeymoon in England. 
She's asked what I would like for her to bring me back from the trip. 
Being a fellow costumer I trust her to pick out nice books or historical 
related goodies, but I really have no idea what's available over there. 
Are there any "must have's" from London these days?

They may try and see the Bath museum if they have time. I remember some 
discussion about the costume exhibit maybe not being open. Does anyone 
know what the deal is or how I'd find out?



Dawn

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At 11:17 03/11/2004 -0600, you wrote:
>My best friend is getting married and taking her honeymoon in England. 
>She's asked what I would like for her to bring me back from the trip. 
>Being a fellow costumer I trust her to pick out nice books or historical 
>related goodies, but I really have no idea what's available over there. 
>Are there any "must have's" from London these days?
>
>They may try and see the Bath museum if they have time. I remember some 
>discussion about the costume exhibit maybe not being open. Does anyone 
>know what the deal is or how I'd find out?


I am going to Bath on Monday, to see the "Jane Austen" exhibition - about 
clothes in the Austen movies, like Pride and Prejudice etc. I will post 
further once I have been, but I understand from recent correspondence on 
another place I chat that the exhibition has been so successful it has been 
extended well into 2005.

Any of the museums have shops attached so there will be costume related 
goodies at the V and A, and the Museum of London, which has a new exhibit 
open just recently, which I am also planning on going to next week.

Fabric is much more expensive here than in the U.S. We don't have chains of 
stores like Walmart or JoAnn's where you can get inexpensive fabrics. Also 
all sewing gadgets are more expensive, and mostly, so are books! Tell her 
to try R.D. Franks (www.rdfranks.co.uk) for books on both fashion and 
costume. In fact most stuff in America is 2/3rds cheaper than here, at the 
very least. Do you wonder I spent a lot of money in JoAnn's and Barnes and 
Noble in the summer when I was in the U.S??

She should go and drool over Liberty's and visit the fabric department, 
just to enjoy the shop. And there is nothing like Liberty lawn anywhere 
else that I know of, unless imported.

Don't know if that helps at all, but I will report on the exhibitions.

Suzi in London


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This is probably not what you are looking for, but I was refently give a 
copy of Dossiers d'Archeologie n.297, Octobre 2004, which is on "Saint Denis 
de Ste Genevieve a Suger" which has several articles on Merovingian finds.  
If you can dig up a copy (probably easier to do in the UK than it will be 
over here), it's worth the effort.

Marc

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The fabric selection there is depressingly good--I've been window shopping
for silk damask lately, and have been eating my heart out at what I'm seeing
out of the UK that I can't get my hands on.

-E House

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Subject: [h-cost] Source for vintage-inspired clothes
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Newport News.  Their website is www.newoprt-news.com.  I am looking at 
their Holiday '04 print catalog. I assume the same items are on their 
website, and/or they will send you a free print catalog too.

This company often sells vintage-inspired designs. In this catalog the 
vintages are primarily 1920s, what I call Vaguely Victorian, 1960s, and 
1970s/hippieish.  Their prices are quite reasonable, especially since 
they have many beaded and hand crocheted items.  They carry some petite 
and women's sizes as well as misses'.  Their holiday catalog includes 
lots of beaded bags, at around $30-40; beaded tank tops and dresses (the 
dress waists run a little high for 1920s, but they're nice dresses);  
shoes  including a 1910sish embroidered one-strap pump, an 1810sish 
embroidered satin flat, and some Victorianish boots and ankle boots; and 
a number of hand-crocheted sweaters and tops.  I've ordered from them 
before and their quality is not haute couture but it's pretty good.  
Plus, a lot of this seems to be private label merchandise I just don't 
see anywhere else.

Fran
Lavolta Press
Two new books on "natural form" era clothing!
http://www.lavoltapress.com

.




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Subject: [h-cost] RE: trick or treat; costume prizes
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>Hey next year I'm thinking it'll be worthwhile getting my costumes out
and
>greeting the children who come in ver greater numbers! I do think they
>should make costumes to suit the ocassion though;) It's
>Spring here, and broad daylight when they come around.
>
>So I'm going to think about setting up somehting outside, and maybe
dress >as Glinda or someone in a foofy dress to suit the weather;)
>
>I also have a plan to say "anyone wiht a better costume than me gets a
>prize" Probably somehtign arts and crafty actually.. seeing as they'd
be
>more likely to be into that sort of thing than lollies.
>
>michaela de bruce

I'm so happy to hear Halloween is thriving in places in NZ! And I'm
thinking your idea is a great one Michaela. With a little effort we
could have an Auckland road that was to Halloween as Franklin Road is to
Christmas Lights (i.e. cars queue to drive down, plays on TV at Xmas
time). I should move near you :-)

gabriella

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Greetings All!

I just tried the website it is actually www.newport-news.com

Happy shopping!
Kit

In a message dated 11/3/2004 2:24:30 PM Eastern Standard Time, Lavolta Press <fran@lavoltapress.com> writes:

>Newport News.  Their website is www.newoprt-news.com.  I am looking at 
>their Holiday '04 print catalog. I assume the same items are on their 
>website, and/or they will send you a free print catalog too.
>
>This company often sells vintage-inspired designs. In this catalog the 
>vintages are primarily 1920s, what I call Vaguely Victorian, 1960s, and 
>1970s/hippieish.  Their prices are quite reasonable, especially since 
>they have many beaded and hand crocheted items.  They carry some petite 
>and women's sizes as well as misses'.  Their holiday catalog includes 
>lots of beaded bags, at around $30-40; beaded tank tops and dresses (the 
>dress waists run a little high for 1920s, but they're nice dresses);  
>shoes  including a 1910sish embroidered one-strap pump, an 1810sish 
>embroidered satin flat, and some Victorianish boots and ankle boots; and 
>a number of hand-crocheted sweaters and tops.  I've ordered from them 
>before and their quality is not haute couture but it's pretty good.  
>Plus, a lot of this seems to be private label merchandise I just don't 
>see anywhere else.
>
>Fran
>Lavolta Press
>Two new books on "natural form" era clothing!
>http://www.lavoltapress.com
>
>.
>
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>


-- 
Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole

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Subject: Re: [h-cost] need millinery supplies
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So look in your 'design box' of slightly tired hats and make your own
frame...
Kathleen
----- Original Message ----- 
From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Monday, November 01, 2004 2:47 AM
Subject: RE: [h-cost] need millinery supplies


> Ooh! I was looking through the Amazon Drygoods pattern catalog tonight and
came across a simple
> bonnet frame. Says it's ready to cover and line in your choice of fabrics,
and decorate as you
> like. Only $12.50!  Sounds reasonable to me~!
> In any case, that pattern catalog is amazing!
>
> Order a catalog here:
>
> http://www.amazondrygoods.com/
>
> HTH-
>
> ::Linda::
>
>
> On Behalf Of otsisto
> Subject: RE: [h-cost] need millinery supplies
>
> I am not 100% sure but usually straw hat were worn in the spring and
summer.
> wool felted hats were fall and winter. I think one of the major patterns
> makers has a pattern for a caroler's bonnet. Don't have the time right now
> to look.
>
> De
>
>
> Not sure if this is what you are looking for, but its straw, and it's
cheap!
> As to fast, I really
> don't know, I've not used this supplier.
> http://www.hatsupply.com/costume_hats.htm
> Scroll all the way to the bottom.
>
> HTH-
> ::Linda::
>
> -----Original Message-----
>  On Behalf Of Grace Morris
> [h-cost] need millinery supplies
>
> I usually sew an earlier time period, but now I find that I need to
> come up with a "Victorian" caroling outfit in pretty quick order.
> Nothing fancy, just nice enough to earn $$ over the holiday season.
> I'm in need of a basic straw hat base--I can handle all the decorating
> myself.  Can anyone recommend a fast, on-line supplier?
>
> Grace/Jessamyn
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Jerusha is having problems with her email and asked that I post this
to the list:

> Again, sorry for the delay!  I kept thinking that my regular email
would get
> fixed and I could post to the h-costume list that the images are on
the web.
> My email still isn't fixed, and I'm *real* reluctant to unsub and
resub just
> to have everything back to normal 20 minutes later.  Know what I
mean?
>
> Anyway, if you would be so kind as to post to the list that these
are the URLs
> for the images of the Eleanor of Toledo burial dress.
>
>
http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg
>
http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-300.jpg
>
http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-72.jpg

With regards,

kate


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> > Anyway, if you would be so kind as to post to the list that these
> are the URLs
> > for the images of the Eleanor of Toledo burial dress.
> >
> >
> http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg
> http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-300.jpg
> http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-72.jpg

Wow, it's laced on the side back!

And... the skirt is not split in front !?!

That's a great image!
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Subject: Re: [h-cost] RE: trick or treat
Date: Wed, 3 Nov 2004 14:11:38 +1100
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<snip>
> How sad I am that in New Zealand Halloween seems to be dying out. When I
> was little all the kids on my street took part (a sheet with holes cut
> in was all we could muster for costumes though). This year we had only 2
> groups of kids come to our house, and my daughter and her friends
> decided after getting such a bad reaction from so many houses last year,
> this year they would stay in, eat pizza and watch a video.
<snip> I feel so disappointed now I won't get to make my offspring a new
> costume every year, although my daughter might be glad! She was always
> embarrassed that hers was so much better than everyone else's and would
> often leave half the costume behind so she wouldn't look too good (Kiwis
> are weird about that sometimes).
> gabriella

I went trick or treating with friends two or three times when I was about
8-10, but we were only allowed to go to houses we knew. We often caught
people by surprise who had forgotten it was Halloween or didn't know and
didn't have any lollies to give out (I remember one year my mum gave out
sultanas because we hadn't thought to buy any lollies). We also got a
lecture at one house that as Christians we should not be celebrating  this
pagan holiday, we listened quietly went on to the next house and remembered
not to knock on her door next year. But this was the same family who had a
problem with letting their children watch Bedknobs and Broomsticks (the
Disney movie) because it had a witch in it. We got one group of trick or
treaters this year which seems to be roughly the same as it was when I did
it or possibly a bit less but it's not a big thing, then again here I'm in a
Suburb that is about 40 years old (and for a city that is only about 80 yrs
old and still expanding we're an old suburb) so, unlike the newer suburbs,
there aren't huge numbers of kids around the neighbourhood (e.g. about 5-10
yrs ago the southern area of Canberra was known as Nappy Valley because of
all the families with young kids). But after reading this thread I thought I
might encourage my (10 y.o.) brother to get his friends together for some
trick or treating next year (though I probably won't be making him anything
as my exams will usually be around this time).
Eizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Chenille
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At 08:42 AM 11/2/2004 -0600, you wrote:
>When was chenille first used? If it's a latish thing (which I assume to be
>the case, though apparently it's at least as early as 1781) is there
>anything before say around 1550 that it could be said to mimic? I've been
>looking around for fancyish brocades and cut velvets, and annoyingly enough,
>some of the most accurate designs are being sold in chenille. Could a finely
>woven chenille fabric, by any stretch of the imagination, mimic real
>renaissance era cut velvets?
>
>-E House
>Liberty in Our Lifetime - www.freestateproject.org
>Coming Soon - http://www.seamcheckers.com


I would love to know the answer to that question as well. If you find out 
anything, please let us know.

I have fallen in love with a chenille drapery fabric that I have bought to 
make my first Italian dress (16th c.). It really looks like the fabrics of 
the time, and even is two-toned blue and ivory. I doubt chenille is period 
appropriate for my time frame. However there are times when we have to use 
a fabric because it mimics the costly cut velvets in style, even tho it 
isn't fully "period" appropriate. I definitely cannot afford real cut 
velvet. However, each person has to make that decision for themselves. For 
what I do (ren faires) chenille fabric, if the pattern is appropriate, is 
an acceptable alternative in my group. But we are going for the theatrical 
look, not necessarily the exact materials.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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At 05:39 PM 11/2/2004 +0100, you wrote:
>I also thoaght that some reenactors could use a chenille thread and 
>embroider their forepart or whatever so that it looks like cut velvet.
>
>Bjarne


I have found chenille yarns at my local stores... but never heard of 
chenille threads. Where do you get your chenille threads?

Kimiko


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At 05:43 PM 11/3/2004 +0000, you wrote:
>And there is nothing like Liberty lawn anywhere else that I know of, 
>unless imported.


Hi Suzi,

Do you know if the Liberty store has an online means of ordering? I have 
never, ever had the pleasure of seeing anything remotely known as "lawn", 
and would love to be able to order some.

Thanks,


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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Date: Wed, 03 Nov 2004 19:56:50 -0800
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] shopping in London
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At 12:36 PM 11/3/2004 -0600, you wrote:
>The fabric selection there is depressingly good--I've been window shopping
>for silk damask lately, and have been eating my heart out at what I'm seeing
>out of the UK that I can't get my hands on.
>
>-E House


Where are you window shopping as I want to drool, too... and why can't you 
get it?


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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At 08:37 PM 11/3/2004 -0500, you wrote:
> > Anyway, if you would be so kind as to post to the list that these
>are the URLs
> > for the images of the Eleanor of Toledo burial dress.


Thank you Kate and Jerusha for sharing these images!


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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At 08:37 PM 11/3/2004 -0500, you wrote:
> >
>http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-300.jpg


This one really shows clearly the shaping of the skirt segments, including 
the triangular pieces. And I love the skirt and bodice embellishments. Wow, 
what a dress. Even in as bad a shape as this one is, the beauty is still 
apparant.

Kimiko

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Kimiko--

The Tana Lawns from Liberty of London are available at fabric stores in
the US. You might have to hunt a bit, and cetrainly JoAnns doesn't carry
them. Look for independent fashion fabric stores or quilt shops.

Lawn is a very fine, light cotton. The Tana lawns are mostly small-scale
floral prints, with a few medium scale and a few stripes.

There is a nice line of cotton lawn prints made in Brazil that you can
find at quilt shops. These are quite a bit less expensive, and
beautiful, too.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Kimiko Small
Sent: Wednesday, November 03, 2004 9:56 PM
To: Historical Costume
Subject: Re: [h-cost] shopping in London


At 05:43 PM 11/3/2004 +0000, you wrote:
>And there is nothing like Liberty lawn anywhere else that I know of,
>unless imported.


Hi Suzi,

Do you know if the Liberty store has an online means of ordering? I have

never, ever had the pleasure of seeing anything remotely known as
"lawn", 
and would love to be able to order some.

Thanks,


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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Subject: [h-cost] Talk on costume conservation
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Thought people in the Washington DC area might be interested in this:
 
National Museum of Women in the  Arts: 
A  Costume Conservator as Detective
Monday, Nov. 8 
Using  case studies such as the Smithsonianâ€™s First Ladies Collection, guest 
lecturer  Polly Wilman describes the role of costume conservators in 
discovering the  origin and developments of clothing. 
7  p.m.;  $8 general; $5 students, free for NMWA members; reservations 
suggested â€“ call  202.783.7370 or _reservations@nmwa.org_ 
(mailto:reservations@nmwa.org) 
 
Kathleen  Norvell
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Fw: Eleonora's gown
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At 20:04 03/11/2004 -0800, you wrote:
>At 08:37 PM 11/3/2004 -0500, you wrote:
>> >
>>http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-300.jpg
>
>
>This one really shows clearly the shaping of the skirt segments, including 
>the triangular pieces. And I love the skirt and bodice embellishments. 
>Wow, what a dress. Even in as bad a shape as this one is, the beauty is 
>still apparant.
>
>Kimiko


This gown is patterned in Janet Arnold's "Patterns of Fashion 1560-1660". 
There are drawings of the conjectured look of the gown. Other grave clothes 
are also patterned. Janet worked with Dr, Mary Westerman Bulgarella from 
the Pitti Palace in order to take the patterns.

Suzi


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I have to say that while I like the look of a lot of things from Newport 
News, I have not been satisfied with the quality of their merchandise.  
I had a couple of things fall apart after only a few wearings, wven when 
hand-washed and treated gently.

Just my 3.1415 cents.

Wendy Z
Chicago, IL

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Hi there, 
 
I am joining in a little late.
 
Halloween as a kid was always really, really big. When I got my own place, I was sad to find that the new neighborhood did not come out to play. We had 10 kids to the door and we considered ourselves lucky.
 
Two and a half years ago I bought a new house in a newly build neighborhood. The first Halloween I wanted to get to know some of the neighbors, so I put out a table with coffee and brownies for the parents. Once the word got out that there was hot coffee at my house ready to go in paper cups, they flocked to my house. I met so many of my neighbors. There were about 80 kids. BTW my mom came over to hand out candy. She looks a great deal like Mrs. (Santa) Claus. One little kid looked at her and said, "Hey look! It is Pumpkin Claus!"
 
We prepared the coffee again last year and were hit with a rainstorm. We had about 30 kids. The parents who braved the rain were counting on the coffee. 
 
This year--at the recommendation of a friend--I added hot apple cider. We had a line of 10-15 people waiting for it and the line never really died down. I will need to double the amount next year. 
 
It works out that if you stand in my yard (I am at the end of the street) you can see all the way to culdesac at the other end of the street. The parents of the older kids choose to hang out in my yard and chat with "Pumpkin Claus" and drink cider. They could see the kids all the way down and all the way back.  There were about 120 kids. Other parents offered to help with coffee and goodies next year. 
 
I now feel really at home here! 
 
Heather 
aka Holland
Brea, CA 
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<snip> > Anyway, if you would be so kind as to post to the list that these
> are the URLs
> > for the images of the Eleanor of Toledo burial dress.
> http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg
> >
> http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-300.jpg
> >
> http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-72.jpg
>
> With regards,
>
> kate

Wow, you can really see how fragmented it is, it must have taken an absolute
genius to reconstruct that! I know Janet Arnold was involved, but I don't
know how much.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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At 20:38 04/11/2004 +1100, you wrote:

><snip> > Anyway, if you would be so kind as to post to the list that these
> > are the URLs
> > > for the images of the Eleanor of Toledo burial dress.
> > http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg
> > >
> > http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-300.jpg
> > >
> > http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-72.jpg
> >
> > With regards,
> >
> > kate
>
>Wow, you can really see how fragmented it is, it must have taken an absolute
>genius to reconstruct that! I know Janet Arnold was involved, but I don't
>know how much.


Janet worked on the gown before 1983/4. I have a postcard of Eleonora on 
which Janet writes "Had a wonderful time in Italy and am going back to 
Florence in October to give a paper on what I did at the conference for the 
opening of the Pitti Palace Costume Collection." I certainly saw slides of 
the grave clothes that Janet took during  conservation, but I cannot 
remember whether it was when I was at college or a later lecture.

Suzi


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Subject: Re: [h-cost] shopping in London
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At 19:55 03/11/2004 -0800, you wrote:
>At 05:43 PM 11/3/2004 +0000, you wrote:
>>And there is nothing like Liberty lawn anywhere else that I know of, 
>>unless imported.
>
>
>Hi Suzi,
>
>Do you know if the Liberty store has an online means of ordering? I have 
>never, ever had the pleasure of seeing anything remotely known as "lawn", 
>and would love to be able to order some.
>


The web address is http://www.liberty.co.uk/shopping/ but they do not 
appear to have lawn  or fabrics listed as an option.

Plain white cotton lawn, suitable for dainty underwear, can be obtained 
from MacCulloch and Wallis, who do mail 
order.http://www.macculloch-wallis.co.uk/home_mill.html

Suzi



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Subject: Re: [h-cost] Chenille
Date: Thu, 4 Nov 2004 15:04:53 +0100
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Dear Kimiko
It is me who wrongly called it thread, you know english isnt my native 
language, it is of cause a yarn.
I had my silk chenille yarn from Aurora:
http://www.aurorasilk.com/shop/silk-chenille-yarn.shtml
Sorry about this misleading!

Bjarne

----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 04, 2004 4:53 AM
Subject: Re: [h-cost] Chenille


> At 05:39 PM 11/2/2004 +0100, you wrote:
>>I also thoaght that some reenactors could use a chenille thread and 
>>embroider their forepart or whatever so that it looks like cut velvet.
>>
>>Bjarne
>
>
> I have found chenille yarns at my local stores... but never heard of 
> chenille threads. Where do you get your chenille threads?
>
> Kimiko
>
>
> _______________________________________________
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Date: Thu, 4 Nov 2004 08:25:28 -0600
Subject: Re: [h-cost] shopping in London
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MacCullogh and Wallis is a great place to shop! I found it by partial
accident on one trip to London and fell in love. It's an old fashioned
haberdashery which means it's a little dark, a little dingy, and
definitely not fashionable, but the merchandise is fantastic! I can never
remember the right name so I just call it Plunkett and MacClean but Teddy
always knows what I am talking about.


Karen


On Thu, 04 Nov 2004 10:52:48 +0000 Suzi Clarke <suzi@suziclarke.co.uk>
writes:
> Plain white cotton lawn, suitable for dainty underwear, can be 
> obtained 
> from MacCulloch and Wallis, who do mail 
> order.http://www.macculloch-wallis.co.uk/home_mill.html
> 
> Suzi
> 
> 
> 
> _______________________________________________
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> 

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Date: Thu, 04 Nov 2004 14:44:34 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] shopping in London
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At 08:25 04/11/2004 -0600, you wrote:
>MacCullogh and Wallis is a great place to shop! I found it by partial
>accident on one trip to London and fell in love. It's an old fashioned
>haberdashery which means it's a little dark, a little dingy, and
>definitely not fashionable, but the merchandise is fantastic! I can never
>remember the right name so I just call it Plunkett and MacClean but Teddy
>always knows what I am talking about.




Update on MacCulloch and Wallis!! No longer quite so dark and dingy, and 
very up-market nowadays, at least in the haberdashery department. Loads of 
braids, glitter and stuff for customizing jeans, as well as all the old 
favourites. Downstairs the fabric department is still a bit dark, but 
brightened by all the glorious fabrics. And the staff are always patient, 
and so knowledgeable - it's a real pleasure to shop there.

Suzi (who's going on Tuesday again, for a snoop around!!)


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Subject: [h-cost] OT: digital cameras
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Status: RO

Well, sort of OT, as I would be using it for costumeing :)

I am looking to, finally, invest in a digital camera.  One of the
things it would be used for is close-up pics of needlework & costumes so
I thought this group might have some good experience with these things
:).   I would like the ability to do pretty good close-ups, not
interested in making any movies.  Anyone have a brand/model they would
recommend?  

Catherine
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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Re: a medieval livery question
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Found it!

It's in this article: Lachaud, Frédérique, "Liveries of Robes in
England c.1200-1330" English Historical Review v.111 pp. 279-98.
Apparently green had a cachet in the 13th century as being an
aristocratic colour.

Margaret/Pixel


On Tue, 26 Oct 2004 13:13:17 -0500, pixel <goddessandqueen@gmail.com> wrote:
> My SO remembers a reference somewhere about a medieval lord who
> clothed all his retainers in green. Unfortunately he can't remember
> where he read it, which is hampering my efforts to use the reference
> in my current research. Does it sound familiar to anyone?
> 
> Thanks!
> 
> Margaret/Pixel
>

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Subject: Re: [h-cost] OT: digital cameras
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Models change so fast that the one I have, now several years old, is I'm sure 
obsolete. It's a Sony--the model number I haven't a clue, but has surely been 
replaced by something newer and better.

You want to look for one with a macro setting for the close ups.

Ann Wass
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Subject: Re: [h-cost] Chenille
Date: Thu, 4 Nov 2004 09:22:57 -0600
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 Well, so far I've tracked chenille down to the late 17th century (there's
an extant south German vestment)... it keeps going back, so maybe if I try a
bit harder I can manage the 16th! =} But I am starting to feel pretty good
about using it as a reasonable substitute, especially since the modern cut
velvet I've found so far looks nothing like the original, whereas some of
the chenille really does from more than a foot away.

-E House

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From: pixel <goddessandqueen@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT: digital cameras
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Depends on how much $$ you're willing to spend. There are sites out
there with good reviews of cameras: http://www.steves-digicams.com/
and http://www.dpreview.com are two that I check. I think the current
high number for resolution is something like 8 megapixel.

Features I would look for in a digital camera if I were buying one:

8 megapixel or higher (Film is ~25 megapixels or thereabouts)
large lens aperture (this is the f number, the smaller the better)
fast shutter speed capability
macro capability (close-in focusing)
flash can be disabled

I myself have a Pentax *istD, which is an SLR and thus requires
lenses. An SLR will cost more, will require you to get at least one
lens, and has a steeper learning curve, but it's a lot more like a
film SLR. If you like photography, they're great. If you're just
looking to record data, then you probably want one of the
point-and-shoot variety.

Margaret/Pixel

On Thu, 04 Nov 2004 09:04:18 -0600, Catherine Kinsey <ckinsey@kumc.edu> wrote:
> Well, sort of OT, as I would be using it for costumeing :)
> 
> I am looking to, finally, invest in a digital camera.  One of the
> things it would be used for is close-up pics of needlework & costumes so
> I thought this group might have some good experience with these things
> :).   I would like the ability to do pretty good close-ups, not
> interested in making any movies.  Anyone have a brand/model they would
> recommend?
> 
> Catherine
> _______________________________________________
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> h-costume@mail.indra.com
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From: ailith@neo.rr.com
Subject: Re: [h-cost] OT: digital cameras
To: Historical Costume <h-costume@indra.com>
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The flash on mine can be disabled, but then the pictures without flash are always blurry.

I've got a Samsung that my sweetie bought me for Christmas last year, so it's not too antiquated. It's a 3 megapixel, I think.

kate

----- Original Message -----
From: pixel <goddessandqueen@gmail.com>
Date: Thursday, November 4, 2004 11:01 am
Subject: Re: [h-cost] OT: digital cameras

> Depends on how much $$ you're willing to spend. There are sites out
> there with good reviews of cameras: http://www.steves-digicams.com/
> and http://www.dpreview.com are two that I check. I think the current
> high number for resolution is something like 8 megapixel.
> 
> Features I would look for in a digital camera if I were buying one:
> 
> 8 megapixel or higher (Film is ~25 megapixels or thereabouts)
> large lens aperture (this is the f number, the smaller the better)
> fast shutter speed capability
> macro capability (close-in focusing)
> flash can be disabled
> 
> I myself have a Pentax *istD, which is an SLR and thus requires
> lenses. An SLR will cost more, will require you to get at least one
> lens, and has a steeper learning curve, but it's a lot more like a
> film SLR. If you like photography, they're great. If you're just
> looking to record data, then you probably want one of the
> point-and-shoot variety.
> 
> Margaret/Pixel
> 
> On Thu, 04 Nov 2004 09:04:18 -0600, Catherine Kinsey 
> <ckinsey@kumc.edu> wrote:
> > Well, sort of OT, as I would be using it for costumeing :)
> > 
> > I am looking to, finally, invest in a digital camera.  One of the
> > things it would be used for is close-up pics of needlework & 
> costumes so
> > I thought this group might have some good experience with these 
> things> :).   I would like the ability to do pretty good close-
> ups, not
> > interested in making any movies.  Anyone have a brand/model they 
> would> recommend?
> > 
> > Catherine
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Date: Thu, 04 Nov 2004 16:31:59 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] OT: digital cameras
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At 10:01 04/11/2004 -0600, you wrote:
>Depends on how much $$ you're willing to spend. There are sites out
>there with good reviews of cameras: http://www.steves-digicams.com/
>and http://www.dpreview.com are two that I check. I think the current
>high number for resolution is something like 8 megapixel.
>. If you're just
>looking to record data, then you probably want one of the
>point-and-shoot variety.


I have a Canon PowerShot  A200  it is easy to handle and use, and I was the 
one who swore my Pentax couldn't be bettered. The Canon takes wonderful 
closeup photos of stitching, and is a bonus in museums when I am 
researching. However, it eats batteries, and if I was buying now, I would 
try and buy a rechargeable one. A colleague has one, and doesn't have to 
change batteries. It also takes even better photos than mine, I am sorry to 
say!! (However I don't know what it is, so that's no help!)

Suzi

I can send anyone who is interested a closeup by e-mail - and that's 
another bonus with a digital camera, isn't it??


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Jerusha,

This image is wonderful!  Could you possibly post (or have Kate post) the full citation for the source of this picture? 

Thanks so much,
Trephina/Vicki


>Date: Wed, 3 Nov 2004 20:37:30 -0500
>From: "ailith" <ailith@neo.rr.com>
>Subject: [h-cost] Fw: Eleonora's gown
>To: "Historical Costume" <h-costume@indra.com>

>Jerusha is having problems with her email and asked that I post this
>to the list:

>> Anyway, if you would be so kind as to post to the list that these
>> are the URLs for the images of the Eleanor of Toledo burial dress.

http://www.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-300.jpg

>With regards,

>kate


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Date: Thu, 04 Nov 2004 16:42:44 +0000
From: Teddy <Teddy@mdx.ac.uk>
Subject: RE: [h-cost] Queen Arnegunde???
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RE: Queen Arnegunde???

> This is probably not what you are looking for, but I was refently give
a 
> copy of Dossiers d'Archeologie n.297, Octobre 2004, which is on "Saint
Denis 
> de Ste Genevieve a Suger" which has several articles on Merovingian
finds.  
> If you can dig up a copy (probably easier to do in the UK than it will
be 
> over here), it's worth the effort.

Thanks Marc

Teddy
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I'm looking too :) For me, the key is that I'm getting awfully tired of waiting four or five days to see whether my pictures came out, or more like a week if I get them scanned (at a decent resolution) as well as printed. I think I've become spoiled by the 21st century...

One thing the reviews _don't_ always mention is which cameras are best at taking indoor, low-light shots. Most people seem to be buying them for outdoor snapshots, and I gather that quite a lot of the recent models do that just fine. But usually the reviews only mention indoor shots if the camera they're discussing is particularly *bad* at them.

So I'd also be interested in people's recommendations. I've been very impressed by the quality of a professional friend's 6-megapixel model, but how many megapixels I buy will depend mostly on how many I can afford, given a brand and model-series that looks good in other respects.

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Date: Thu, 04 Nov 2004 17:03:51 +0000
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] shopping in London
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> MacCullogh and Wallis is a great place to shop! I found it by 
> partial accident on one trip to London and fell in love. It's 
> an old fashioned haberdashery which means it's a little dark, 
> a little dingy, and definitely not fashionable, but the 
> merchandise is fantastic! I can never remember the right name 
> so I just call it Plunkett and MacClean but Teddy always 
> knows what I am talking about.

I do indeed... But you forgot to mention that their fabric prices are on
the expensive side.....

Teddy
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IMO their merchandise is not couture quality, but it is as good as a lot 
of other RTW.

Fran
Lavolta Press
http://www.lavoltapress.com

zski wrote:

> I have to say that while I like the look of a lot of things from 
> Newport News, I have not been satisfied with the quality of their 
> merchandise.  I had a couple of things fall apart after only a few 
> wearings, wven when hand-washed and treated gently.
>
> Just my 3.1415 cents.
>
> Wendy Z
> Chicago, IL
>
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Subject: [h-cost] Digital camera
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I'm quite in love with my Canon PowerShot A70.  I use it in museums all the
time to take extreme close-ups of garments. I also use it in libraries to
photograph books and magazines. It does has a macro setting so that you can
practically touch the garment with your lens.  You can set the "white
balance" for different lighting conditions which helps with that nasty
fluorescent color problem.  You can also disable the flash - which I always
do.  You can use this camera as an "automatic" or totally control the
settings.  It's small and lightweight and uses regular AA batteries which
are easy to replace.  I got a HUGE memory card on sale and I can take
hundreds of pictures without having to change cards.  It's not for
professional photographers, but for an inexpensive camera, I highly
recommend it.

Furthermore, may I suggest a monopod if you're working in dim lighting
conditions (museums!). The one I got telescopes in to a very unobtrusive
size so curators don't freak out when I arrive with it.

If you want to see the kind of thing it can do, go the Simplicity web site
(http://www.simplicity.com/index.cfm?page=section/civilWar/shirts6.html) and
look at the Civil War Collection historic notes "original shirt with
details."  I had to reduce the picture size greatly for the web site, but
the originals can be blown up so large you can count threads.


Martha




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Subject: Re: [h-cost] shopping in London
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----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
> Where are you window shopping as I want to drool, too... and why can't you
> get it?

Well, actually the thing I had in mind when I posted that was some of the
droolworthy fabrics I keep seeing from British and especially London
costumers. I've spent sooo much time over the past few months looking at
every mail order source I can think of in order to find some great silk
damask/brocade/lampas that I can just about recognize the design and source
of any such that I see. And yet I can't find what I'm really looking for,
which is a repeat that is large, but large because of the complexity of the
design rather than the size of the elements.

Then for fun I look at the websites of costumers, and when I get to the
British ones, I see exactly the fabrics, of this sort and others, that I
want--sometimes being used by less experienced, hobbyist costumers, who may
not necessarily go to great lengths when shopping for fabric--but I don't
recognize the source. So I make the deductive leap that they have better
fabric stores that don't do mail order. =} (Also, I hear stories.) I expect
it's more Europe than UK, but I've been primarily looking at English
language sites.

Also, some of the sources for fabric I REALLY wish I could afford (like the
only seller of silk samite I've found to date) are in London. Places that
might be willing to sell to you by mail, if you can make it past their
extensive interview process...

Maybe if I were willing to go to LA or NYC I'd be able to find the sort of
thing I want, but I am not willing to set foot in either (a political
thing).

-E House

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From h-costume-bounces@indra.com  Thu Nov  4 12:54:02 2004
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Subject: Re: [h-cost] Re: OT: digital cameras
Date: Thu, 4 Nov 2004 11:53:14 -0600
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And unfortunately, megapixels don't necessarily mean quality photos; I
recently got a higher megapixel camera (about twice as high as my old one),
after a great deal of research, but the photo quality just isn't there. Even
if I resize the image to half the size, the quality still isn't as good as
my 5 or 6 year old Kodak!  (Although it does have a ton more settings than
my old camera, so it's possible that I just need to find the exact right
settings.) My advice is to be willing to return any camera that you buy,
until you find the right one. =}

Next camera I get, I'm going to try to get one that can take great pictures
in a dim museum with no flash and no tripod! A time delay seems to help with
that--I can hold the camera pretty close to still if I'm not trying to push
down the button. (That no tripod rule some museums have really annoys me...)

By the way, my favorite digital camera review site is:
http://www.imaging-resource.com/ which does a pretty good job of showing how
cameras do under hard conditions, such as low light.

-E House

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Subject: Re: [h-cost] Re: OT: digital cameras
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I have a Minolta Dimage model that I really like a lot. My first one
was also great and was an Argus that I thought was incredible. Both
take nice clear pics and can be put on a tripod if needed. My links
below have a few pics on them I took with my Dimage.
-- 
============================
Italian Ladies 2005 Calendar
http://www.lulu.com/kristalori
http://kristalori.com
http://snipurl.com/96f1 Dress Diaries
http://snipurl.com/9bir That 70's Trailer
============================
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] shopping in London
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>Well, actually the thing I had in mind when I posted that was some of the
>droolworthy fabrics I keep seeing from British and especially London
>costumers. I've spent sooo much time over the past few months looking at
>every mail order source I can think of in order to find some great silk
>damask/brocade/lampas that I can just about recognize the design and source
>of any such that I see. 
>
So do you have the URLs or mail-order addresses of any sources other 
h-costume members might find useful for the damask/brocade/lampas 
patterns they prefer?

>
>Also, some of the sources for fabric I REALLY wish I could afford (like the
>only seller of silk samite I've found to date)
>  
>
Hey, I just ordered a crocheted cashmere poncho from a Chinese ebay 
seller who translates silk as "samite," and headscarf/mufller as 
"wimple."  Lovely looking item in the photo though, so I am hopeful.

Fran
Lavolta Press
Two new books on 1870s and 1880s clothing!
http://www.lavoltapress.com


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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] OT: digital cameras
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Hi Catherine,
I have had my dig.camera for 3 years now, and i have never ben disappointed 
of it.
It can with a little click make close up pictures of very detailed things 
like lace and embroidery.
My camera is a Sony Cyber-shot with 3.2 million pixels.
It is very easy to use and very reliable.

Bjarne


----- Original Message ----- 
From: "Catherine Kinsey" <ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Thursday, November 04, 2004 4:04 PM
Subject: [h-cost] OT: digital cameras


> Well, sort of OT, as I would be using it for costumeing :)
>
> I am looking to, finally, invest in a digital camera.  One of the
> things it would be used for is close-up pics of needlework & costumes so
> I thought this group might have some good experience with these things
> :).   I would like the ability to do pretty good close-ups, not
> interested in making any movies.  Anyone have a brand/model they would
> recommend?
>
> Catherine
> _______________________________________________
> 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 damask (was: shopping in London)
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A few that I spend hours drooling over, specifically for periodish silk
damask, are:
http://www.designerfabrics.ca
http://store.yahoo.com/discountfabricsusa
http://www.iluvfabrix.com
http://www.hyenaproductions.com/ (overpriced, in my opinion, but lovely
anyway)
several of these sites have some of those periodish chenilles I asked about
recently.

There are tons of other places I look at, but they aren't sticking in my
mind right now, which generally means that they only get silk damasks once
in a while or they're so high priced that I rarely look at them, like
Bevilacqua.
http://www.luigi-bevilacqua.com/  No prices on their website now, but
several years back they did list prices. From what I remember, the range was
around 40 to 300 euros, with the average being around 100 euros. Maybe next
time the dollar is REALLY strong...

(Someone buy something from me. I wanna go spend $50/yd on some silk damask
now, plz!)=}

-E House

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From: "Carol E. Newby" <ladybug@neei.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT: digital cameras
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> I am looking to, finally, invest in a digital camera.  One of the
> things it would be used for is close-up pics of needlework & costumes so
> I thought this group might have some good experience with these things
> :).   I would like the ability to do pretty good close-ups, not
> interested in making any movies.  Anyone have a brand/model they would
> recommend?  

I have a FujiFilm FinePix 4700 Zoom which is 4 or 5 years old. The book
says it's resolution is 4.3 million pixels. I've used it for closeups of
needlework and tracking steps in garment construction and I love it.  
While the camera has been discontinued, you can find used or refurbished
models on-line. It's a small, point and shoot, optional flash, and has
several photography modes including the macro function and the ability to
adjust the brightness of the flash. (thanks to the list I'll have to play
with these!) I pretty much leave it on auto and have been very happy with 
the results.

The biggest downside I've found with it is that it eats batteries. But, it
uses rechargable batteries and they recharge fairly quickly with a good
recharger unit. Keeping multiple sets of batteries charged is a viable
solution. We bought an AC adapter so that I could plug it in while I'm
using it inside and that has helped a lot. We've looked at external
battery packs as an option for outside shooting but haven't been able to
find one with the right voltage. (need 3 volts and they seem to start at 5
volts)

As you look at cameras one suggestion I would offer is to search on-line 
for the user manual. Many manufacturers make these available as 
downloadable files and they can answer a lot of questions that the 
marketing materials don't.

Carol

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

    "Act well your part, there all honor lies."
		~ William Shakespeare
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Subject: Re: [h-cost] OT: digital cameras
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In a message dated 11/4/2004 2:23:15 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:

> I am looking to, finally, invest in a digital camera.  One of the
> >things it would be used for is close-up pics of needlework &costumes so
> >I thought this group might have some good experience with these things
> 

Get one that is most like a 35mm camera....with lenses you can change and 
stuff. Mine comes with a close up feature that works very well, but if you want 
to get REALLY close, you might want to change lenses. And of course it needs to 
be able to go on a tripod.

You really don't need more than 300 or so mega pixels. And the rule is the 
same as with film photography: try to get the best photo straight up....without 
later enhancement. IOW, don't depend on the computer to fix problems. Try to 
get it right the 1st time. I say this because it is true you can manipulate the 
digital image a lot....which is great for art and fun. But if your trying to 
make a record of something real.....

The great thing about digital is you can take a million pics, look at 'em 
right away, and just delete the ones that aren't working. Take twice as many 
shots as you need...change the setting little by little to see what you can get. 
Sometimes the auto setting is not the best solution.

Have fun!
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From: Jacqueline Johnson <jacquelinejbump@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] silk damask (was: shopping in London)
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http://www.luigi-bevilacqua.com/ very pricey. I have their catalog and
sample swatches here someplace. Incredible fabric though.


On Thu, 4 Nov 2004 13:27:45 -0600, E House <formfunc@formfunction.org> wrote:
> Bevilacqua.
> http://www.luigi-bevilacqua.com/  No prices on their website now, but
> several years back they did list prices. From what I remember, the range was
> around 40 to 300 euros, with the average being around 100 euros. Maybe next
> time the dollar is REALLY strong...
-- 
============================
Italian Ladies 2005 Calendar
http://www.lulu.com/kristalori
http://kristalori.com
http://snipurl.com/96f1 Dress Diaries
http://snipurl.com/9bir That 70's Trailer
============================
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I've bought from www.designerfabrics.ca two or three times and been very 
pleased. 

Hadn't seen www.iluvfabrix.com before. Am going through their silks now 
and trying to figure out what I could use some of them for.  They have 
some lovely ones.

As for www.hyenaproductions.com, do you know any place to buy the same 
brocade fabrics for less?

Have you tried the Silk Trading Company, http://www.silktrading.com?  
Their San Francisco store is absolutely jaw dropping.  I did buy a nice 
crimson damask when I was there last.  Their website isn't nearly as 
good as the store, but maybe they will swatch.

Fran
Lavolta Press
http://www.lavoltapress.com

E House wrote:

>A few that I spend hours drooling over, specifically for periodish silk
>damask, are:
>http://www.designerfabrics.ca
>http://store.yahoo.com/discountfabricsusa
>http://www.iluvfabrix.com
>http://www.hyenaproductions.com/ (overpriced, in my opinion, but lovely
>anyway)
>several of these sites have some of those periodish chenilles I asked about
>recently.
>
>There are tons of other places I look at, but they aren't sticking in my
>mind right now, which generally means that they only get silk damasks once
>in a while or they're so high priced that I rarely look at them, like
>Bevilacqua.
>http://www.luigi-bevilacqua.com/  No prices on their website now, but
>several years back they did list prices. From what I remember, the range was
>around 40 to 300 euros, with the average being around 100 euros. Maybe next
>time the dollar is REALLY strong...
>
>(Someone buy something from me. I wanna go spend $50/yd on some silk damask
>now, plz!)=}
>
>-E House
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>  
>
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Subject: [h-cost] OT: Author Event - Nathaniel Philbrick: Sea of Glory (fwd)
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Please forgive the cross postings but I thought there might be some folks out there that might enjoy this.  

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares

-------------- Forwarded Message: -------------- 
From: Gia Gavino <ggavino@u.washington.edu> 
To: gia_gavino@comcast.net 
Subject: Author Event - Nathaniel Philbrick: Sea of Glory (fwd) 
Date: Thu, 4 Nov 2004 21:37:08 +0000 



Gia Gavino 
Division of Rheumatology, BB561 
Box 356428 
206-685-9557 

---------- Forwarded message ---------- 
Date: Thu, 4 Nov 2004 13:20:35 -0800 (PST) 
From: Program on the Environment 
To: U.W. Graduate Program Assistants and Advisors List 
Subject: Author Event - Nathaniel Philbrick: Sea of Glory 


REMINDER 
-------- 
Nathaniel Philbrick. Sea of Glory: America's Voyage of Discovery, the U.S. 
Exploring Expedition, 1838-1842 
Thu, November 4 
3:00 p.m. 
258 Mary Gates Hall 

Introduction by John Findlay, Chair, Department of History 

Refreshments 

In 1838, the U.S. government launched the largest discovery voyage the Western 
world had ever seen. Four years later, the U.S. Exploring Expedition (Ex. Ex.) 
returned with an astounding array of accomplishments and discoveries: 87,000 
miles logged, 280 Pacific islands surveyed, 4,000 zoological specimens 
collected, including 2,000 new species, and the discovery of the continent of 
Antarctica. And yet at a human level, the project was a disaster-not only had 
28 men died and 2 ships been lost, but a series of sensational courts-martial 
had also ensued that pitted the expedition's controversial leader, Lieutenant 
Charles Wilkes, against almost every officer under his command. 

Nathaniel Philbrick is author of the National Book Award-winning bestseller In 
the Heart of the Sea: The Tragedy of the Whaleship Essex. 

For more information, call 206.616.3310 or email poe@u.washington.edu 

Co-sponsored by the College of Ocean and Fishery Sciences and the School 
of Marine Affairs, the Department of History, and the Program on the 
Environment. 

Link to flyer: 
http://depts.washington.edu/poeweb/happening/flyers/philbrick.pdf 

The University of Washington is committed to providing access, equal 
opportunity and reasonable accommodation in its services, programs, activities, 
education and employment for individuals with disabilities. To request 
disability accommodation contact the Disability Services Office at least ten 
days in advance at: 206-543-6450/V, 206-543-6452/TTY, 206-685-7264 (FAX), or 
dso@u.washington.edu. 
------------------------------------------------------------------------- 
Program on the Environment 
274 Mary Gates Hall, Box 352802 
University of Washington 
Seattle, WA 98195-2802 
Tel: 206.616.3310 
Fax: 206.616.2465 
Email: poe@u.washington.edu 
_______________________________________________
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Subject: Re: [h-cost] OT: Author Event - Nathaniel Philbrick: Sea of Glory
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I read all the way through this message getting excited -- and then found
out that it was in Seattle near the last line. May I request that people
writing about lectures, museum specials, sales, etc. list WHERE the event is
being held either in the subject line or in the first two lines of the
message? It'll save people time and disappointment.

LynnD


> From: Elena O'Tighearnaigh <gia_gavino@comcast.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Thu, 04 Nov 2004 21:41:21 +0000
> To: Costume Historical <h-costume@indra.com>, Wyewood <wyewood@wyewood.org>,
> Bowslaire List <bowslairelist@yahoogroups.com>, Reeds Aquaterra
> <Reeds@baronyofaquaterra.org>
> Subject: [h-cost] OT: Author Event - Nathaniel Philbrick: Sea of Glory (fwd)
> 
> Please forgive the cross postings but I thought there might be some folks out
> there that might enjoy this.
> 
> --
> Slan go foill 
> Elena ÓTighearnaigh Átha An Ri
> 
> Emer's Needle Wares
> 
> -------------- Forwarded Message: --------------
> From: Gia Gavino <ggavino@u.washington.edu>
> To: gia_gavino@comcast.net
> Subject: Author Event - Nathaniel Philbrick: Sea of Glory (fwd)
> Date: Thu, 4 Nov 2004 21:37:08 +0000
> 
> 
> 
> Gia Gavino 
> Division of Rheumatology, BB561
> Box 356428 
> 206-685-9557 
> 
> ---------- Forwarded message ----------
> Date: Thu, 4 Nov 2004 13:20:35 -0800 (PST)
> From: Program on the Environment
> To: U.W. Graduate Program Assistants and Advisors List
> Subject: Author Event - Nathaniel Philbrick: Sea of Glory
> 
> 
> REMINDER 
> -------- 
> Nathaniel Philbrick. Sea of Glory: America's Voyage of Discovery, the U.S.
> Exploring Expedition, 1838-1842
> Thu, November 4 
> 3:00 p.m. 
> 258 Mary Gates Hall
> 
> Introduction by John Findlay, Chair, Department of History
> 
> Refreshments 
> 
> In 1838, the U.S. government launched the largest discovery voyage the Western
> world had ever seen. Four years later, the U.S. Exploring Expedition (Ex. Ex.)
> returned with an astounding array of accomplishments and discoveries: 87,000
> miles logged, 280 Pacific islands surveyed, 4,000 zoological specimens
> collected, including 2,000 new species, and the discovery of the continent of
> Antarctica. And yet at a human level, the project was a disaster-not only had
> 28 men died and 2 ships been lost, but a series of sensational courts-martial
> had also ensued that pitted the expedition's controversial leader, Lieutenant
> Charles Wilkes, against almost every officer under his command.
> 
> Nathaniel Philbrick is author of the National Book Award-winning bestseller In
> the Heart of the Sea: The Tragedy of the Whaleship Essex.
> 
> For more information, call 206.616.3310 or email poe@u.washington.edu
> 
> Co-sponsored by the College of Ocean and Fishery Sciences and the School
> of Marine Affairs, the Department of History, and the Program on the
> Environment. 
> 
> Link to flyer: 
> http://depts.washington.edu/poeweb/happening/flyers/philbrick.pdf
> 
> The University of Washington is committed to providing access, equal
> opportunity and reasonable accommodation in its services, programs,
> activities, 
> education and employment for individuals with disabilities. To request
> disability accommodation contact the Disability Services Office at least ten
> days in advance at: 206-543-6450/V, 206-543-6452/TTY, 206-685-7264 (FAX), or
> dso@u.washington.edu.
> -------------------------------------------------------------------------
> Program on the Environment
> 274 Mary Gates Hall, Box 352802
> University of Washington
> Seattle, WA 98195-2802
> Tel: 206.616.3310
> Fax: 206.616.2465
> Email: poe@u.washington.edu
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



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Subject: [h-cost] Re: OT: digital cameras
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We have a Sony Cyber-shot DSC-F717, and we love it.  It's not small and 
light, but it's worth it for the features.

*9.7-48.5mm Carl Zeiss Vario-Sonnar lens, equivalent to a 38-190mm lens on 
a 35mm camera 
The lens on a camera makes a big difference in the quality of the photo, 
and a Carl Zeiss is a good quality lens.
*We can add lenses.
Most digital cameras won't let you screw on a lens.  We have several 
lenses, and we find them very useful for reducing glare on glass, getting 
better shots of outdoor scenes, etc.  Even for point & click, it helps.
*5x optical zoom 
Digital zoom is almost worthless, IMO, but a good optical zoom is worth 
it's weight in gold.  Optical is real zooming with a lens, digital is 
programming.  Digital zoom crops the picture to the part you want, and 
then enlarges it back to size.  The result is loss of quality.  When you 
buy, look for a high optical zoom.
*Adjustable apertures from 2 to 8
*Macro zoom, the ability turn off the flash, and setting for shots in 
darkness (museums, etc)

For a good review (and more features), try:
http://www.imaging-resource.com/PRODS/F717/F71A.HTM

-Christina
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From: "Glenda Robinson" <glendar@compassnet.com.au>
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Subject: Re: [h-cost] OT: digital cameras
Date: Fri, 5 Nov 2004 10:01:19 +1100
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I just love my Sony Mavica digital. It's a semi-professional with 4.1 Mpix, 
a 34-105 lens (Carl Zeiss) , 3x optical 2x digital zoom, macro setting to 
4cm and writes directly to 8cm CD.

The main drawback is that it's nearly the size of a SLR camera, but the 
quality of the images (due mainly to the quality of the lens) is incredible 
compared to the pocket sized Sonys of similar Mpix. The selling point was 
the ability to write to CD. Takes longer than to a memory card, but when we 
travelled around England for a month, taking 3600 photos (after chucking the 
ones that didn't work at the time!), we didn't have to find somewhere to 
convert the memory cards to CD, or lug a laptop around with us, which made 
up for the price difference. It uses rechargable batteries, and we bought an 
extra one, but we rarely had to go to the second battery.

There's a review here: 
www.megapixel.net/reviews/sony-cd400/cd400-review.html . There's newer 
versions out by now.

Glenda.


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Date: Thu, 04 Nov 2004 14:49:21 -0800
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] OT: digital cameras
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At 11:25 AM 11/4/2004 -0500, you wrote:
>The flash on mine can be disabled, but then the pictures without flash are 
>always blurry.


Then you need more direct or even filtered light on the subject.

Kimiko



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At 09:04 AM 11/4/2004 -0600, you wrote:
>Well, sort of OT, as I would be using it for costumeing :)
>
>I am looking to, finally, invest in a digital camera.  One of the
>things it would be used for is close-up pics of needlework & costumes so
>I thought this group might have some good experience with these things
>:).   I would like the ability to do pretty good close-ups, not
>interested in making any movies.  Anyone have a brand/model they would
>recommend?
>
>Catherine


Hi Catherine,

Well, I have had great results in a dark museum with our Olympus digital 
cameras. It even outdid my SLR film Canon Rebel in low light conditions. I 
use the Olympus for my everyday shoots, with closeups of the stitches 
coming out well using the macro function. I do however disable the flash 
function and use a separate overhead lights (Ott light and halogens) for 
taking my shots indoors. I have also gotten good shots of miniature figures 
for a friend. The trick is finding the right distance where the autofocus 
comes in clear in the preview windows. I then use Photoshop to play with 
the images for web use, although Paint Shop Pro is a great low end 
alternative program.

My SLR does better shots manually in general, which is why I use it and 
process the film onto CDs as well for web use.

I also recommend a monopod or a tripod (or both for different uses). 
Monopods seem to be more accepted at museums than tripods, but tripods are 
great for studio work. I also suggest a power cord to bypass the batteries 
whenever possible. My Olympus is several years old and came out before 
rechargeable batteries became a norm. Thankfully the power cord I bought 
can be used with several different types of gadgets that love to suck up 
batteries.

hth,


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: OT: digital cameras
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At 08:58 AM 11/4/2004 -0800, you wrote:
>I'm looking too :) For me, the key is that I'm getting awfully tired of 
>waiting four or five days to see whether my pictures came out, or more 
>like a week if I get them scanned (at a decent resolution) as well as 
>printed. I think I've become spoiled by the 21st century...


I am feeling the same way, but my SLR with lenses was pricey enough, and 
the digital body version I can't afford right now. But I have digitals for 
some shots that I don't want or need in printed formats. I am just waiting 
for the prices to drop, as they always do.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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From: sewinggoddess@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] shopping in London
Date: Fri, 05 Nov 2004 00:09:34 +0000
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   I am so glad that this topic came up because I jsut got some *wonderful* news.....  My Dear boyfriend may have to go to England for his job for some time in January and February...  due to other plans I'd have to skip going in January if he goes, but February.. is a whole 'nother matter.   I've already made *possibility* arrangements at work to enable me to tag along for the trip, if he does go in Feb.!
    This would mean that I'd be free to wander wherever I so desire during the day and find my way back to the hotel late at night!  He would be so busy really working that he'd have no time to sightsee. Which is fine because he was actually stationed there years ago,and got to see the country, but that's another whole long story.  I am really looking forward to "wandering" around London and suburbs if I do actually get to go.  I"ve already figured I'd be taking a train into London....Boyfriend thinks we'd be in Sheffield. Does that sound right?    I'll be so busy looking around, that I don't really have any destinations in mind other than the V & A for a day or two.... any "must see" fabric shops?  My sewing interests are quite varied... from corsetry to vinyl/rubber fetish wear, Italian Renaissance,Cavalier and Elizabethan.   Is there any area that the fabric shops are several on a street?  Any place to see for silk embroidery floss?   Wherever I end up , If I get over the!
 re, I"ll enjoy it immensely. I have so many interests it's impossible to try to list them all!

    any "regular" flea markets/jumble sales/farmer's markets/favorite Antique or thrift stores that I need to go and visit in the London area?

Thanks in advance!
Crissy   
 
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I got a Nikon Coolpix 2 years ago, prior to my England trip.  It did
moderately well--my only complaint was lack of really *close* close-ups,
but it has a number of settings, including one really handy one
specifically for museums.  It's a middle-of-the-road model vis-a-vis 
megapixels.
--sue "yes, I want to see the individual threads" clemenger ;o)

ailith@neo.rr.com wrote:

> The flash on mine can be disabled, but then the pictures without
> flash are always blurry.
> 
> I've got a Samsung that my sweetie bought me for Christmas last year,
> so it's not too antiquated. It's a 3 megapixel, I think.
> 
> kate
> 
> ----- Original Message ----- From: pixel <goddessandqueen@gmail.com> 
> Date: Thursday, November 4, 2004 11:01 am Subject: Re: [h-cost] OT:
> digital cameras
> 
> 
>> Depends on how much $$ you're willing to spend. There are sites out
>>  there with good reviews of cameras:
>> http://www.steves-digicams.com/ and http://www.dpreview.com are two
>> that I check. I think the current high number for resolution is
>> something like 8 megapixel.
>> 
>> Features I would look for in a digital camera if I were buying one:
>> 
>> 
>> 8 megapixel or higher (Film is ~25 megapixels or thereabouts) large
>> lens aperture (this is the f number, the smaller the better) fast
>> shutter speed capability macro capability (close-in focusing) flash
>> can be disabled
>> 
>> I myself have a Pentax *istD, which is an SLR and thus requires 
>> lenses. An SLR will cost more, will require you to get at least one
>>  lens, and has a steeper learning curve, but it's a lot more like a
>>  film SLR. If you like photography, they're great. If you're just 
>> looking to record data, then you probably want one of the 
>> point-and-shoot variety.
>> 
>> Margaret/Pixel
>> 
>> On Thu, 04 Nov 2004 09:04:18 -0600, Catherine Kinsey 
>> <ckinsey@kumc.edu> wrote:
>> 
>>> Well, sort of OT, as I would be using it for costumeing :)
>>> 
>>> I am looking to, finally, invest in a digital camera.  One of the
>>>  things it would be used for is close-up pics of needlework &
>> 
>> costumes so
>> 
>>> I thought this group might have some good experience with these
>> 
>> things> :).   I would like the ability to do pretty good close- 
>> ups, not
>> 
>>> interested in making any movies.  Anyone have a brand/model they
>>> 
>> 
>> would> recommend?
>> 
>>> Catherine _______________________________________________ 
>>> h-costume mailing list h-costume@mail.indra.com 
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>> 
>> 
>> _______________________________________________ h-costume mailing
>> list h-costume@mail.indra.com 
>> http://mail.indra.com/mailman/listinfo/h-costume
>> 
> 
> 
> _______________________________________________ h-costume mailing
> list h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Kate Bunting
Library, University of Derby

>>> sewinggoddess@att.net 05/11/2004 00:09:34 >>>wrote [snip]
  
   I"ve already figured I'd be taking a train into London....Boyfriend
thinks we'd be in Sheffield. Does that sound right?    
_______________________________________________


Sorry to disappoint you, but Sheffield is in the north of England,
nowhere near London (at least by our standards!). It's a direct rail
connection, but takes about 2 1/2 hours by train.
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At 10:03 PM 11/3/2004 -0800, you wrote:
>Two and a half years ago I bought a new house in a newly build 
>neighborhood. The first Halloween I wanted to get to know some of the 
>neighbors, so I put out a table with coffee and brownies for the parents. 
>Once the word got out that there was hot coffee at my house ready to go in 
>paper cups, they flocked to my house. I met so many of my neighbors. There 
>were about 80 kids.


Hi Heather,

Thanks for sharing your story. I am also in a relatively new neighborhood, 
and I love your simple idea for getting to know the neighbors better. I 
will keep the coffee, brownies and hot apple cider in mind when I actually 
plan on a Halloween thing next year for our home.

Kimiko


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At 10:52 AM 11/4/2004 +0000, you wrote:
>The web address is http://www.liberty.co.uk/shopping/ but they do not 
>appear to have lawn  or fabrics listed as an option.
>
>Plain white cotton lawn, suitable for dainty underwear, can be obtained 
>from MacCulloch and Wallis, who do mail 
>order.http://www.macculloch-wallis.co.uk/home_mill.html
>
>Suzi


Hi Suzi,

Thanks for sharing the links. However, both appear... unfinished? And the 
M-W home page speaks of a 2002 catalog, and none of the listed items are 
linked to anything, so I am thinking they have ignored the internet at this 
site.

But thanks again, anyways. Hopefully they will do more online in time.

Kimiko


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] silk damask (was: shopping in London)
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At 01:27 PM 11/4/2004 -0600, you wrote:
>A few that I spend hours drooling over, specifically for periodish silk
>damask, are:


Thanks so much for sharing the drool worthy links. I have now spent too 
much time drooling, and my desk is now sopping wet.  ;-)

But the links have provided me with more fodder for my fantasy folder... 
those places I want to buy from when I finally have real money to spend on 
costumes.

Thanks again,

Kimiko

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Thanks Kim, I will have to check my one and only quilt store and see what 
kinds of lawn they carry. That sounds funny.

Kimiko


At 10:18 PM 11/3/2004 -0600, you wrote:
>Kimiko--
>
>The Tana Lawns from Liberty of London are available at fabric stores in
>the US. You might have to hunt a bit, and cetrainly JoAnns doesn't carry
>them. Look for independent fashion fabric stores or quilt shops.
>
>Lawn is a very fine, light cotton. The Tana lawns are mostly small-scale
>floral prints, with a few medium scale and a few stripes.
>
>There is a nice line of cotton lawn prints made in Brazil that you can
>find at quilt shops. These are quite a bit less expensive, and
>beautiful, too.
>
>Kim


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Fw: Eleonora's gown
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At 05:37 AM 11/4/2004 +0000, you wrote:
>This gown is patterned in Janet Arnold's "Patterns of Fashion 1560-1660". 
>There are drawings of the conjectured look of the gown. Other grave 
>clothes are also patterned. Janet worked with Dr, Mary Westerman 
>Bulgarella from the Pitti Palace in order to take the patterns.
>
>Suzi


I have the book and have looked at the pattern, but seeing the garment 
remnants as a whole is just a different perspective on the garments 
themselves. It's one thing to see the line drawn patterns, and a whole 
other thing to see the garments, especially that trim. Janet Arnold was 
excellent at reproducing the trim pattern, but to see it... I was blown 
away. I know, so simple, yet today we don't see anything that lovely in 
modern garments... and that's another story that I know we've all hashed 
time and again.

Thanks for sharing,

Kimiko

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Fw: Eleonora's gown
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At 01:32 05/11/2004 -0800, you wrote:
>At 05:37 AM 11/4/2004 +0000, you wrote:
>>This gown is patterned in Janet Arnold's "Patterns of Fashion 1560-1660". 
>>There are drawings of the conjectured look of the gown. Other grave 
>>clothes are also patterned. Janet worked with Dr, Mary Westerman 
>>Bulgarella from the Pitti Palace in order to take the patterns.
>>
>>Suzi
>
>
>I have the book and have looked at the pattern, but seeing the garment 
>remnants as a whole is just a different perspective on the garments 
>themselves. It's one thing to see the line drawn patterns, and a whole 
>other thing to see the garments, especially that trim. Janet Arnold was 
>excellent at reproducing the trim pattern, but to see it... I was blown 
>away. I know, so simple, yet today we don't see anything that lovely in 
>modern garments... and that's another story that I know we've all hashed 
>time and again.


I do so agree - my note was more for those who haven't got the book, or 
didn't know there was a pattern. I know that the research has continued, 
and I keep promising myself a trip to Florence to meet Dr. Bulgarella 
again, and hopefully get shown "things" but domestic stuff like fallen roof 
tiles, broken windows etc. somehow always seem to get in the way at the 
wrong time!!

A lottery win would be nice so I could go shopping for silk damask at the 
same time!!

Suzi


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] shopping in London - now MacCulloch's catalogue?
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At 01:43 05/11/2004 -0800, you wrote:
>At 10:52 AM 11/4/2004 +0000, you wrote:
>>The web address is http://www.liberty.co.uk/shopping/ but they do not 
>>appear to have lawn  or fabrics listed as an option.
>>
>>Plain white cotton lawn, suitable for dainty underwear, can be obtained 
>>from MacCulloch and Wallis, who do mail 
>>order.http://www.macculloch-wallis.co.uk/home_mill.html
>>
>>Suzi
>
>
>Hi Suzi,
>
>Thanks for sharing the links. However, both appear... unfinished? And the 
>M-W home page speaks of a 2002 catalog, and none of the listed items are 
>linked to anything, so I am thinking they have ignored the internet at 
>this site.
>
>But thanks again, anyways. Hopefully they will do more online in time.


If anyone wants a catalogue from MacCulloch's, I will be there next week, 
and can ask for details - there is a new one out right now - I got mine a 
couple of weeks ago.

I can mail small samples of their lawn if anyone wants to mail me off list.

Suzi


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] shopping in London
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>
>     This would mean that I'd be free to wander wherever I so desire 
> during the day and find my way back to the hotel late at night!  He would 
> be so busy really working that he'd have no time to sightsee. Which is 
> fine because he was actually stationed there years ago,and got to see the 
> country, but that's another whole long story.  I am really looking 
> forward to "wandering" around London and suburbs if I do actually get to 
> go.  I"ve already figured I'd be taking a train into London....Boyfriend 
> thinks we'd be in Sheffield. Does that sound right?


You will find that in order to get to London in time to do all that you 
want, you will have to leave at the crack of dawn, and share with hundreds 
of commuters in all likelihood.

>  I'll be so busy looking around, that I don't really have any 
> destinations in mind other than the V & A for a day or two.... any "must 
> see" fabric shops?  My sewing interests are quite varied... from corsetry 
> to vinyl/rubber fetish wear, Italian Renaissance,Cavalier and 
> Elizabethan.   Is there any area that the fabric shops are several on a 
> street?

If you do manage to make it, "Berwick Street" is where I go most of the 
time. There are 5 fabric shops, one tailoring fabric shop, and one 
haberdashery shop all either on the street or just to the side.


>     any "regular" flea markets/jumble sales/farmer's markets/favorite 
> Antique or thrift stores that I need to go and visit in the London area?

There are lots of markets in London of all kinds. No Farmers' Markets 
within easy reach of the train station as far as I know. Portobello Road, 
(antiques and rubbish) Spitalfields, (mixed) Brick Lane (more fabric, 
mostly Indian/African), Alfie's Antique Market in Islington, many more - I 
don't visit any except Brick Lane as they are all expensive. Shepherds Bush 
has a good reputation, although again I have not been there. Southall, full 
of Indian fabrics, and a wonderful shop Called Rainbow Textiles for 
glamorous beaded stuff, mainly sourced from India and Pakistan, but not all 
ethnic in style.

Jumble sales and "charity" shops - our version of thrift shops - are mostly 
in the suburbs, and jumble sales are also usually there too, along with 
boot sales. The sales are usually at weekends, and at least an hour from 
the centre by car, as the boot sales at least are often held in a farmer's 
field somewhere, and it is usually raining, and they have always just sold 
the thing you were looking for. I have a love/hate relationship with boot 
sales!! A boot sale, by the way, is where people take their cars and sell 
their own goods from the boot - trunk -  of the car.

Sorry I can't help with fetish stuff, although if you are in Berwick 
Street, you will see plenty of shops around there that may be of use to you.

Hope that helps

Suzi


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <5.1.0.14.2.20041105100244.01559d48@mail.suziclarke.co.uk>
Subject: Re: [h-cost] shopping in London
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I would be willing, so just how do we do this?  I assume you will need to
have the books in hand; when will they be returned to me?
Kathleen
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 05, 2004 5:21 AM
Subject: Re: [h-cost] shopping in London


>
> >
> >     This would mean that I'd be free to wander wherever I so desire
> > during the day and find my way back to the hotel late at night!  He
would
> > be so busy really working that he'd have no time to sightsee. Which is
> > fine because he was actually stationed there years ago,and got to see
the
> > country, but that's another whole long story.  I am really looking
> > forward to "wandering" around London and suburbs if I do actually get to
> > go.  I"ve already figured I'd be taking a train into London....Boyfriend
> > thinks we'd be in Sheffield. Does that sound right?
>
>
> You will find that in order to get to London in time to do all that you
> want, you will have to leave at the crack of dawn, and share with hundreds
> of commuters in all likelihood.
>
> >  I'll be so busy looking around, that I don't really have any
> > destinations in mind other than the V & A for a day or two.... any "must
> > see" fabric shops?  My sewing interests are quite varied... from
corsetry
> > to vinyl/rubber fetish wear, Italian Renaissance,Cavalier and
> > Elizabethan.   Is there any area that the fabric shops are several on a
> > street?
>
> If you do manage to make it, "Berwick Street" is where I go most of the
> time. There are 5 fabric shops, one tailoring fabric shop, and one
> haberdashery shop all either on the street or just to the side.
>
>
> >     any "regular" flea markets/jumble sales/farmer's markets/favorite
> > Antique or thrift stores that I need to go and visit in the London area?
>
> There are lots of markets in London of all kinds. No Farmers' Markets
> within easy reach of the train station as far as I know. Portobello Road,
> (antiques and rubbish) Spitalfields, (mixed) Brick Lane (more fabric,
> mostly Indian/African), Alfie's Antique Market in Islington, many more - I
> don't visit any except Brick Lane as they are all expensive. Shepherds
Bush
> has a good reputation, although again I have not been there. Southall,
full
> of Indian fabrics, and a wonderful shop Called Rainbow Textiles for
> glamorous beaded stuff, mainly sourced from India and Pakistan, but not
all
> ethnic in style.
>
> Jumble sales and "charity" shops - our version of thrift shops - are
mostly
> in the suburbs, and jumble sales are also usually there too, along with
> boot sales. The sales are usually at weekends, and at least an hour from
> the centre by car, as the boot sales at least are often held in a farmer's
> field somewhere, and it is usually raining, and they have always just sold
> the thing you were looking for. I have a love/hate relationship with boot
> sales!! A boot sale, by the way, is where people take their cars and sell
> their own goods from the boot - trunk -  of the car.
>
> Sorry I can't help with fetish stuff, although if you are in Berwick
> Street, you will see plenty of shops around there that may be of use to
you.
>
> Hope that helps
>
> Suzi
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From h-costume-bounces@indra.com  Fri Nov  5 08:33:10 2004
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	<418A61A7.1000000@lavoltapress.com>
Subject: Re: [h-cost] RE: Source for vintage-inspired clothes
Date: Fri, 5 Nov 2004 08:31:21 -0500
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And I find that the catalogue descriptions are truthful re content. You will
get what you thought you were ordering.  Got a wonderful pair of paisley
brocade shoes recently.
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 04, 2004 12:06 PM
Subject: Re: [h-cost] RE: Source for vintage-inspired clothes


> IMO their merchandise is not couture quality, but it is as good as a lot
> of other RTW.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> zski wrote:
>
> > I have to say that while I like the look of a lot of things from
> > Newport News, I have not been satisfied with the quality of their
> > merchandise.  I had a couple of things fall apart after only a few
> > wearings, wven when hand-washed and treated gently.
> >
> > Just my 3.1415 cents.
> >
> > Wendy Z
> > Chicago, IL
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Date: Thu, 4 Nov 2004 20:38:08 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] shopping in London
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>  >I"ve already figured I'd be taking a train into London....Boyfriend
>  > thinks we'd be in Sheffield. Does that sound right?

      Are you saying you'll be in Sheffield and taking day trips to 
London?  It's a bit of distance, 3 hours by train ad 4 hours by 
coach, one way.  The coach is a LOT cheaper.

      Day trips from Sheffield would be more like Nottingham, Leeds, 
Manchester, etc.  Leeds has the Armories Museum.  Platt Hall, the 
costume museum in Manchester, is closed from what I hear, but still 
possible for research appointments.  I hear the Nottingham costume 
museum is also closed, but Nottingham is still worth a visit.  They 
do have a lace museum.

      -Carol
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I saw this article on BBC news.  It uses tin oxide (non-toxic) rather than 
a lead oxide (toxic) to give a white tone to the skin.

** Roman cosmetic secrets revealed **
A 1,800-year-old sealed pot of ointment found in London last year was most 
probably a cosmetic foundation, say scientists.
< http://news.bbc.co.uk/go/em/fr/-/2/hi/science/nature/3978775.stm >

Now I wish they would publish the formula <g>.



Joan Jurancich
joanmj@surewest.net 
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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] shopping in London
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> I"ve already figured I'd be taking a train into 
> London....Boyfriend thinks we'd be in Sheffield. Does that 
> sound right?

Sounds right - you'd need to get the train into London - any other form
of transport would take too long and not make the trip worth while.
Book the tickets in advance if you can, they're much cheaper that way
(thetrainline.com is good for advance tickets)  If you want to do that
you can have the tickets sent to my place and I can post them on to you
or post them to the hotel so you get them when you arrive....

Teddy

>    I'll be so busy looking around, that I don't 
> really have any destinations in mind other than the V & A for 
> a day or two.... any "must see" fabric shops?  My sewing 
> interests are quite varied... from corsetry to vinyl/rubber 
> fetish wear, Italian Renaissance,Cavalier and Elizabethan.   
> Is there any area that the fabric shops are several on a 
> street?

Berwick Street (Off Oxford Street in central London) has several shops
stocked with droolworthy silks, and is witihin a shoert walk of
McCulloch and Wallis, another place to drool over not only fabrics but
also trims and haberdashery.

>     any "regular" flea markets/jumble sales/farmer's 
> markets/favorite Antique or thrift stores that I need to go 
> and visit in the London area?

Walthamstow nmarket (farthest north stop on the Victoria - light blue -
underground line) is a favourite haunt of mine for inexpensive fabrics,
that's best on a Thursday or a Saturday... If I'm around on a Saturday
that coinsides with your trip I could act as Native Guide...

Teddy
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This is so cool.  Thanks to everyone who finds neat things and posts  them 
here for all of us to pore over and enjoy.
 
:)
 
Kimberley


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Oooh.. it didn't look all that far on the map.. But now that I know know better I will rethink this.  I'll definitely make Berwick street a destination when I do go in to town....... and then side trips everywhere. Nottingham would be wonderful!  Leeds I've heard a lot about there. And I'm sure I can get into some trouble in Sheffield as well...   How late in the evening do the trains run?  Do they all stop at an early hour like 7 or do they go until 10-11pm or so? 
      the thing is , i've never been to England, and at this point even getting into a *local* grocery store there would be a grand experience to see and get some of the drinks that were mentioned here before.   A friend also asked me already if I go to get some sweetened condensed milk for her.  Here we sell it in a can, not a squeeze tube. Much less convenient. 

   Coach? Please excuse my misunderstanding ..... is that more like a bus or a wagon with horses? 


Thaks so much everybody!  I really appreciate this!
Crissy


 -------------- Original message ----------------------
From: Carol Kocian <aquazoo@patriot.net>
> >  >I"ve already figured I'd be taking a train into London....Boyfriend
> >  > thinks we'd be in Sheffield. Does that sound right?
> 
>       Are you saying you'll be in Sheffield and taking day trips to 
> London?  It's a bit of distance, 3 hours by train ad 4 hours by 
> coach, one way.  The coach is a LOT cheaper.
> 
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Subject: [h-cost] Thanks!
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Thanks to everyone who shared their experiences and advise on digital
cameras.  I feel much more prepared to go out and shop for one, and then
be able to use it :).  It is also nice to know that most of them seem to
be holding up so well, I didn't want to have to get a new one every
other year or so.

Thanks again,
Catherine
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From: Lena Strid <lstrid@mglarc.com>
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Subject: RE: [h-cost] Roman cosmetics found in south London
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-----Original Message-----
From: Joan Jurancich [mailto:joanmj@surewest.net] 
> ** Roman cosmetic secrets revealed **
> A 1,800-year-old sealed pot of ointment found in London last year was most

> probably a cosmetic foundation, say scientists.
> < http://news.bbc.co.uk/go/em/fr/-/2/hi/science/nature/3978775.stm >
>
> Now I wish they would publish the formula <g>.


Well, you could always contact Museum of London and ask...

/Lena


=================================================
Margaret Gowen & Co. Ltd.
Archaeological Consultants & Project Managers
2 Killiney View                   Tel: 01-2300433
Albert Road Lower                 Fax: 01-2300865
Glenageary         e-mail: archaeology@mglarc.com
Co. Dublin	   website: http://www.mglarc.com
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From h-costume-bounces@indra.com  Fri Nov  5 09:49:34 2004
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Subject: Re: [h-cost] shopping in London
Date: Fri, 05 Nov 2004 14:47:20 +0000
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Thanks for the website Teddy, I'll go and check some of that out right now....

  If you want to do that
> you can have the tickets sent to my place and I can post them on to you
> or post them to the hotel so you get them when you arrive....
> 
  
  I'll see how much advance notice it requires and as soon as I know if and when I'm going I'll let you know the details as well.... This is going to be great!


> Walthamstow nmarket (farthest north stop on the Victoria - light blue -
> underground line) is a favourite haunt of mine for inexpensive fabrics,
> that's best on a Thursday or a Saturday... If I'm around on a Saturday
> that coinsides with your trip I could act as Native Guide...
> 
______________________________________

Oh Teddy, that's more than I could hope for! Thank you! and it does look like Berwick street is the destination now....   Thank you for the tube line info too. I've got a map of the tube system open right now and I'm tracing lines to find  the  stop....   I can only keep my fingers crossed that my boyfriend gets "sent" over there when I can get some time off from work! This is going to be a blast!

Crissy
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Date: Fri, 5 Nov 2004 11:53:55 -0600
From: pixel <goddessandqueen@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT: digital cameras
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On Thu, 04 Nov 2004 14:49:21 -0800, Kimiko Small <kimiko@kimiko1.com> wrote:
> At 11:25 AM 11/4/2004 -0500, you wrote:
> >The flash on mine can be disabled, but then the pictures without flash are
> >always blurry.
> 
> 
> Then you need more direct or even filtered light on the subject.
> 
> Kimiko
> 

No. Blurry means that the camera isn't held steady. A flash allows the
shutter to be open a shorter amount of time--when you disable the
flash, the camera has to hold the shutter open longer to compensate.
Unless the camera is rock-solid steady, braced against something rigid
(a wall, for instance) or attached to something that isn't moving (a
tripod, a monopod, a beanbag) and the shutter is open for longer than
~125th of a second (the shutter speed with flash on most cameras)
you'll get camera shake.

The amount of light you need in most museums to convince the average
PHD digital camera into shortening the shutter speed enough to exclude
the camera shake is usually a lot more than what's available or what
you can bring in without the security types getting angsty.

This is why I use a fast lens and a beanbag when I have to take
low-light photos, if I can't brace the camera against the glass. Not
all museums or historical sites allow tripods or even monopods, but
you can usually bring a small beanbag in without a problem.

[This is what happens when one dates a pro. In return, I'm teaching
him embroidery. ;-)]

Margaret/Pixel
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Subject: Re: [h-cost] Montreal
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----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
Sent: Tuesday, September 07, 2004 7:39 AM
Subject: Re: [h-cost] Montreal


You want to go on St-Hubert street, just north of Jean-Talon. If you want
buttons and similar findings, there is also a place called Rix Rax. I could
find the address for you if you're interested. There are no real good fabric
shops that I know of, I usually shop online, but if you hear of a good one
let me know!


Just to let you know I am back and just stunned by what was available. When
you are just limited to 2 chain stores this is overwhelming.  I knew I
should've emptied my fabric stash more before I left so I could've bought
more fabric.  Guess what! we are planning another trip there again next year
so I have a whole year to empty my sewing stash.  Vancouver has nothing to
offer like Montreal it's like having 10 Dressews on one street.

Brin Kendall



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From: Tania Gruning <tania_gr17@yahoo.com>
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If you decide to do an overnight trip to London, I would suggest that you stay at Queen Alexandra's House, It is a late victorian building that lies right next to Royal Albert Hall. It is a college dorm building that rents some free rooms for a very reasonable price. It is for women only, breakfast and dinner is included in price. Write them way ahead of your stay. I have stayed there twice and it is within walking distance to three of the largest museums in London. It is going to cost you less than taking the train from sheffield to London. Trains are horribly expensive. It cost me more getting from London to York by train than it took from Denmark to London. typical

Yours in Service

Tania


			
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pixel wrote:
> Unless the camera is rock-solid steady, braced against something rigid
> (a wall, for instance) or attached to something that isn't moving (a
> tripod, a monopod, a beanbag) and the shutter is open for longer than
> ~125th of a second (the shutter speed with flash on most cameras)
> you'll get camera shake.

In borderline cases, simply holding your breath might be enough.  Do it 
all the time and you'll see your average picture quality go up a bit.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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From: Jacqueline Johnson <jacquelinejbump@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT: digital cameras
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Or you won't see anything cause you've passed out at an exhibition.


On Fri, 05 Nov 2004 13:48:46 -0500, Cynthia Virtue
<cvirtue+dated+1115232304.083094@thibault.org> wrote:
> In borderline cases, simply holding your breath might be enough.  Do it
> all the time and you'll see your average picture quality go up a bit.
> 
> --
> Cynthia Virtue and/or Cynthia du Pre Argent
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] OT: digital cameras
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At 11:53 AM 11/5/2004 -0600, you wrote:
>This is why I use a fast lens and a beanbag when I have to take
>low-light photos,


A fast lens? All my lenses are the same speed (I thought), isn't it the 
speed of the film, or the setting on digital cameras to mimic film speed, 
that are fast or slow?

And I agree with you otherwise. I wasn't thinking of museum photos when I 
made my comments. I usually do studio work where I control lighting factors.

Kimiko


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Jacqueline Johnson wrote:

> Or you won't see anything cause you've passed out at an exhibition.

Well, yes, but if holding your breath for two seconds causes you 
problems, you probably shouldn't be there in the first place!

But if you arrange to fall *towards* the piece you're curious about, you 
can count the threads as they go dark.

My husband has definitely seen the improvement in even casual snapshots 
by remembering to hold his breath.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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>From: Cynthia Virtue <cvirtue+dated+1115232304.083094@thibault.org>
>In borderline cases, simply holding your breath might be enough.  Do it
>all the time and you'll see your average picture quality go up a bit.

As well as improve your accuracy at the shooting range :)

I find that exhaling, then pushing the button, then inhaling helps.  What 
really helped was one of those cable triggers for the shutter, since it 
means that I'm not getting ANY giggle from pushing the button.

OTOH, I've made the technological leap to film, since I suck with a digital, 
but am fairly good with a 35 mm camera - go figure.

Marc

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*G* I just imagining falling towards some great gown and waking up to
announce that the threads are at about 400 per.


On Fri, 05 Nov 2004 14:21:42 -0500, Cynthia Virtue
<cvirtue+dated+1115234280.393de3@thibault.org> wrote:
> Jacqueline Johnson wrote:
> 
> > Or you won't see anything cause you've passed out at an exhibition.
> 
> Well, yes, but if holding your breath for two seconds causes you
> problems, you probably shouldn't be there in the first place!
> 
> But if you arrange to fall *towards* the piece you're curious about, you
> can count the threads as they go dark.
> 
> My husband has definitely seen the improvement in even casual snapshots
> by remembering to hold his breath.
> 
> --
> 
> 
> Cynthia Virtue and/or Cynthia du Pre Argent
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


-- 
============================
Italian Ladies 2005 Calendar
http://www.lulu.com/kristalori
http://kristalori.com
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http://snipurl.com/9bir That 70's Trailer
============================
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Kimiko Small wrote:

> A fast lens? All my lenses are the same speed (I thought), isn't it the 
> speed of the film, or the setting on digital cameras to mimic film 
> speed, that are fast or slow?

The way lenses work, with the multiple layers of actual chunkls of glass 
  that are in most of them, they lose light on the way to the film (or 
the digital equivalent.)  Think of them as variously thick sunglasses. 
So if you can, you want ones that are engineered to lose as little light 
as possible.  Less like sunglasses.  Those are the "faster" lenses.

Of course, "faster" lenses cost more money than the equivalent less fast 
ones, so it's a tradeoff.  If your subject isn't moving (few 
embroideries are likely to scurry off in the middle of a shoot) it's 
less of a problem if you can compensate with tripods, etc.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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In a message dated 11/5/2004 1:24:48 PM Eastern Standard Time, 
goddessandqueen@gmail.com writes:
This is why I use a fast lens and a beanbag when I have to take
low-light photos, if I can't brace the camera against the glass. Not
all museums or historical sites allow tripods or even monopods, but
you can usually bring a small beanbag in without a problem.
Thanks for the hint.  A small one would fit nicely in my camera bag.

I didn't know I could adjust the ISO on my camera, either, until a few months 
ago, so I can set it for "400" equivalent and disable the flash.

Ann Wass
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In a message dated 11/5/2004 2:30:05 PM Eastern Standard Time, 
marccarlson20@hotmail.com writes:
OTOH, I've made the technological leap to film, since I suck with a digital, 
but am fairly good with a 35 mm camera - go figure.
That is interesting.  I've found my photos are much better with my digital--I 
was never great shakes with film, although my last point and shoot wasn't 
bad.  The biggest problem I had with it is that, with the macro setting, you 
didn't really get what you saw in the viewfinder.  Made taking close ups very 
challenging.

Ann Wass
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In a message dated 11/5/2004 9:49:54 AM Eastern Standard Time, 
lstrid@mglarc.com writes:
Now I wish they would publish the formula <g>.
yeah, but when you do see published formulas, from 18th c. for example, it's 
always got great things in it like lead, spermaceti, or mercury.

Ann Wass
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Subject: Re: [h-cost] Roman cosmetics found in south London
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Ah, but this one is animal fat, starch, and tin oxide.  They just did not 
give the proportions.
Joan Jurancich

At 03:05 PM 11/5/2004 -0500, you wrote:
>In a message dated 11/5/2004 9:49:54 AM Eastern Standard Time,
>lstrid@mglarc.com writes:
>Now I wish they would publish the formula <g>.
>yeah, but when you do see published formulas, from 18th c. for example, it's
>always got great things in it like lead, spermaceti, or mercury.
>
>Ann Wass

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From: "The Foxes" <fox3785@charter.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Roman cosmetics found in south London
Date: Fri, 5 Nov 2004 15:53:49 -0500
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Hi,

In the article I read from CNN the other day they said that it was
40%animal fat to 40%starch and tin oxide.  Not necessarily 100%
accurate, but a place to start experimenting.. if one wanted to..

http://www.cnn.com/2004/TECH/science/11/03/science.cosmetics.reut/index.
html

Just thought I'd pipe up.. back to the dark lurking corners of the
list..
Eleanor le Brun

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Joan Jurancich
Sent: Friday, November 05, 2004 3:41 PM
To: Historical Costume
Subject: Re: [h-cost] Roman cosmetics found in south London

Ah, but this one is animal fat, starch, and tin oxide.  They just did
not 
give the proportions.
Joan Jurancich

At 03:05 PM 11/5/2004 -0500, you wrote:
>In a message dated 11/5/2004 9:49:54 AM Eastern Standard Time,
>lstrid@mglarc.com writes:
>Now I wish they would publish the formula <g>.
>yeah, but when you do see published formulas, from 18th c. for example,
it's
>always got great things in it like lead, spermaceti, or mercury.
>
>Ann Wass

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From: "Karen Heim" <axejudge@accessus.net>
Subject: Re: [h-cost] Roman cosmetics found in south London
To: Historical Costume <h-costume@indra.com>
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Actually, the article I read did - 40 percent animal fat 
(probably sheep or cattle), 40 percent starch, the rest 
tin oxide.

Karen

On Fri, 05 Nov 2004 12:41:11 -0800
  Joan Jurancich <joanmj@surewest.net> wrote:
> Ah, but this one is animal fat, starch, and tin oxide. 
> They just did not give the proportions.
> Joan Jurancich
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Roman cosmetics found in south London
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>Actually, the article I read did - 40 percent animal fat (probably sheep 
>or cattle), 40 percent starch, the rest tin oxide.

That ought to do nicely as sunscreen.


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

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At 15:05 05/11/2004 -0600, you wrote:
>Actually, the article I read did - 40 percent animal fat (probably sheep 
>or cattle), 40 percent starch, the rest tin oxide.
>
>Karen
>
>On Fri, 05 Nov 2004 12:41:11 -0800
>  Joan Jurancich <joanmj@surewest.net> wrote:
>>Ah, but this one is animal fat, starch, and tin oxide. They just did not 
>>give the proportions.
>>Joan Jurancich
>_______________________________________________



You might be interested in Sally Pointer's site - she makes perfumes and 
cosmetics and does a "Roman Makeover" on the site.

www.sallypointer.com

Suzi


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Subject: [h-cost] Fairy tales and nursery rhymes
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 Doe anyone still have the info on the nursery rhymes and maybe fairy tales 
that told the meanings behind them?  You know the ones like it refered to King 
or Queen so and so, the plague etc...  I didn't save it and it has come up 
where I could use the info now.
Thanks,
Kelly
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Subject: Re: [h-cost] Roman cosmetics found in south London
Date: Sat, 6 Nov 2004 09:33:55 +1100
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Since I read that site, I've been trying to find some saffron-coloured
eyeshadow. I did find some in one of those cheap multi-coloured ones a few
years ago, but the set exploded during a plane trip once (eyeshadow powders
all over my new toiletry bag!) The ones they sell singly always seem to be
in fashion colours only, so I'll have to keep checking.
This new mixture is VERY cool! I don't think it would be far off the colour 
of the lead-oxide cosmetics from the later years, of which I already have a 
representation. Now I can use it for another reenactment period.

Glenda.

>>_______________________________________________
>
>
>
> You might be interested in Sally Pointer's site - she makes perfumes and
> cosmetics and does a "Roman Makeover" on the site.
>
> www.sallypointer.com
>
> Suzi


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Date: Fri, 5 Nov 2004 16:50:57 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fairy tales and nursery rhymes
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On Fri, 5 Nov 2004 M311@aol.com wrote:

>  Doe anyone still have the info on the nursery rhymes and maybe fairy
> tales that told the meanings behind them?  You know the ones like it
> refered to King or Queen so and so, the plague etc...  I didn't save
> it and it has come up where I could use the info now.

In my experiences, most of these "historical connections" are myths. Some
of the "explanations" were no doubt thought up by creative university
students just to see who would bite.

For instance, there are lots of sites that tell you that "Ring Around the
Rosy" (or "Ring-a-ring-o'-roses," depending on where you're from) refers
to the plague. Not so, and there are a handful of authoritateve debunking
sites out there that explain what the issues are. But the myth persists,
and keeps getting re-quoted by people who don't know.

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fairy tales and nursery rhymes
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On Fri, 5 Nov 2004 M311@aol.com wrote:

>  Doe anyone still have the info on the nursery rhymes and maybe fairy
> tales that told the meanings behind them?  You know the ones like it
> refered to King or Queen so and so, the plague etc...  I didn't save
> it and it has come up where I could use the info now.

In my experiences, most of these "historical connections" are myths. Some
of the "explanations" were no doubt thought up by creative university
students just to see who would bite.

For instance, there are lots of sites that tell you that "Ring Around the
Rosy" (or "Ring-a-ring-o'-roses," depending on where you're from) refers
to the plague. Not so, and there are a handful of authoritateve debunking
sites out there that explain what the issues are. But the myth persists,
and keeps getting re-quoted by people who don't know.

--Robin

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Fairy tales and nursery rhymes
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At 16:50 05/11/2004 -0600, you wrote:

>On Fri, 5 Nov 2004 M311@aol.com wrote:
>
> >  Doe anyone still have the info on the nursery rhymes and maybe fairy
> > tales that told the meanings behind them?  You know the ones like it
> > refered to King or Queen so and so, the plague etc...  I didn't save
> > it and it has come up where I could use the info now.
>
>In my experiences, most of these "historical connections" are myths. Some
>of the "explanations" were no doubt thought up by creative university
>students just to see who would bite.
>
>For instance, there are lots of sites that tell you that "Ring Around the
>Rosy" (or "Ring-a-ring-o'-roses," depending on where you're from) refers
>to the plague. Not so, and there are a handful of authoritateve debunking
>sites out there that explain what the issues are. But the myth persists,
>and keeps getting re-quoted by people who don't know.


Iona and Peter Opie "The Oxford Dictionary of Nursery Rhymes" published by 
OUP in 1951 and frequently reprinted.

Suzi


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Subject: Re: [h-cost] silk damask
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
<snips>
> As for www.hyenaproductions.com, do you know any place to buy the same
> brocade fabrics for less?

Those specific brocades, not that I can remember. Fabrics of similar quality
and similar designs, yes...

However, the real problem for me is that they flunk one of my main tests for
pricing: I look at the items that I can easily find elsewhere (such as
dupioni and taffeta) and if the quality is the same and the prices are much
higher on THOSE, then I feel safe in assuming that there's a similar markup
on the items I can't match directly. Granted, there can be some major
differences in quality with silk sometimes, but I'm just not seeing it here.

Don't get me wrong; I don't think they're HUGELY overpriced, and if I
couldn't find the shot taffeta colors that I wanted from my less expensive
sources, I'd probably go there next. But I think their brocades are at least
a quarter or a third more expensive than they should be, which matches my
estimation of their taffeta & dupioni prices. A quarter or a third of $75 is
a lot harder to swallow than a quarter or a third of $20! =}  And
really--$40/yd for plain old silk/rayon velvet? Am I missing something?

However, it's entirely possible that if I got a set of swatches of their
brocades, I'd change my mind, or at least partially change it! Luckily for
my budget, though, none of the designs they're listing are right for
anything I'd be doing anytime soon. (If they were half that price, some of
them might be 'good enough,' though...)

> Have you tried the Silk Trading Company, http://www.silktrading.com?
> Their San Francisco store is absolutely jaw dropping.  I did buy a nice
> crimson damask when I was there last.  Their website isn't nearly as
> good as the store, but maybe they will swatch.

Oo, yeah, I forgot about them! Now, I would just LOVE to know if their
taffeta is genuinely worth $44/yd. I should try to get some swatches...
their silks just plain look heavier than most of those available, which I
WOULD pay $80/yd or more to get. Well, maybe not today, but someday. Wish
they listed the weights!

-E House

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] silk damask (was: shopping in London)
Date: Fri, 5 Nov 2004 19:19:45 -0600
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----- Original Message ----- 
From: "Jacqueline Johnson" <jacquelinejbump@gmail.com>


> http://www.luigi-bevilacqua.com/ very pricey. I have their catalog and
> sample swatches here someplace. Incredible fabric though.

Oooh, do you know how I might go about getting my hands on a catalog and
sample swatches?

-E House

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From: Jacqueline Johnson <jacquelinejbump@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] silk damask (was: shopping in London)
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I emailed them and then they called me.


On Fri, 5 Nov 2004 19:19:45 -0600, E House <formfunc@formfunction.org> wrote:
> ----- Original Message -----
> From: "Jacqueline Johnson" <jacquelinejbump@gmail.com>
> 
> > http://www.luigi-bevilacqua.com/ very pricey. I have their catalog and
> > sample swatches here someplace. Incredible fabric though.
> 
> Oooh, do you know how I might go about getting my hands on a catalog and
> sample swatches?
> 
> -E House
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


-- 
============================
Italian Ladies 2005 Calendar
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============================
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Date: Fri, 05 Nov 2004 22:04:10 -0500
Subject: Re: [h-cost] Fairy tales and nursery rhymes
From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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> From: Robin Netherton <robin@shell.nightowl.net>

> 
> For instance, there are lots of sites that tell you that "Ring Around the
> Rosy" (or "Ring-a-ring-o'-roses," depending on where you're from) refers
> to the plague. Not so, and there are a handful of authoritateve debunking
> sites out there that explain what the issues are. But the myth persists,
> and keeps getting re-quoted by people who don't know.
> 

Oh, heck, next you're going to tell me Thos. Crapper didn't invent the
toilet! My  cousins will be SO disappointed.
Lauren

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In a message dated 11/5/2004 3:45:13 PM Eastern Standard Time, 
joanmj@surewest.net writes:
tin oxide
Yes, and I'm sure we can just go out to our local drug store and buy that!

Ann Wass
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In a message dated 11/5/2004 10:07:50 PM Eastern Standard Time, 
lauren.walker@comcast.net writes:
Thos. Crapper didn't invent the
toilet! My  cousins will be SO disappointed.
Well, I think he did develop one version of it, but certainly not the 
earliest one.

Ann Wass
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<snip>
>
>    Coach? Please excuse my misunderstanding ..... is that more like a bus
or a wagon with horses?
>
>
> Thaks so much everybody!  I really appreciate this!
> Crissy

Ah terminology differences yes it is a bus but generally if you're doing a
long distance trip you'd call it a coach (Assuming UK & Australian
terminology match up here), whereas if it's local (within the same city) you
call it a bus. obviously there are differences (the seats are more comfy on
a coach coaches are often bigger) but to all intents and purposes it's a
bus.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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Subject: Re: [h-cost] silk damask (was: shopping in London)
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Ah! I guess I'm just being too impatient waiting for my email response.
(Also, spending half the day on the dialup modem...) Thanks. =}

-E

----- Original Message ----- 
From: "Jacqueline Johnson" <jacquelinejbump@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 05, 2004 7:25 PM
Subject: Re: [h-cost] silk damask (was: shopping in London)


> I emailed them and then they called me.

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>Oo, yeah, I forgot about them! Now, I would just LOVE to know if their
>taffeta is genuinely worth $44/yd. I should try to get some swatches...
>their silks just plain look heavier than most of those available, which I
>WOULD pay $80/yd or more to get. Well, maybe not today, but someday. Wish
>they listed the weights!
>
>
>  
>

The Silk Trading Company carries different silks than you see 
elsewhere.  I'm not saying no one else has any of them, but it's not the 
usual selection of plain taffeta in a range of colors, plain dupioni 
ditto, etc.  In fact they don't carry many plain fabrics.  I'm always 
knocked out by their store.  The first time I went there, a few years 
ago, they had aisles and aisles of nothing but striped silk taffeta.  
Mostly rather wide stripes, but some usable for clothing.  They had 
brocades, checks, and embroidered and textured silks too, but striped 
taffeta was clearly IN for decorating.   Last time I went there, a 
couple months ago, they had a lot fewer striped taffetas. They had tons 
of large baroque brocades and embroideries, some of which they displayed 
made up into bedcoverings. I would say their usual taffeta weight is 
suitable for drapes, although I'm sure they expect them to be lined. 

Fran
Lavolta Press
http://www.lavoltapress.com
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Fairy tales and nursery rhymes
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I think that he invented the 'S' bend making it possible to have an indoor 
toilet (no smell)

John Harrington invented the first one I believe during the reign of 
Elizabeth I  -   I think I also read somewhere in the dim and distant past 
that he built one especially for her.

Jill
At 22:04 05/11/2004 -0500, you wrote:

>Oh, heck, next you're going to tell me Thos. Crapper didn't invent the
>toilet! My  cousins will be SO disappointed.
>Lauren
>
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JiGraH Resources  -  www.jigrah.co.uk

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Subject: RE: [h-cost] Roman cosmetics found in south London
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Isn't tin (stannous) oxide used by lifeguards as 200 spf sun block? That
white stuff?

Alternately, it is also used by lapidaries to polish stones, as it can
be prepared in a quite extreme grade of fineness.. see here about 1/3 of
the way down- don't know how long it would take to use up a pound of
it..

http://www.facetingmachines.com/polishes.shtml

but you might arrange a group order?

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of AnnBWass@aol.com
Sent: Friday, November 05, 2004 10:08 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Roman cosmetics found in south London

In a message dated 11/5/2004 3:45:13 PM Eastern Standard Time, 
joanmj@surewest.net writes:
tin oxide
Yes, and I'm sure we can just go out to our local drug store and buy
that!

Ann Wass
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>Isn't tin (stannous) oxide used by lifeguards as 200 spf sun block? That
>white stuff?

Zinc oxide?  I got these mixed up when I suggested possible sun-screen 
possibilities for this mix.  (May still have them mixed up.)


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

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Subject: Re: [h-cost] Fairy tales and nursery rhymes
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Check out  http://www.rhymes.org.uk/

This might help you out a bit.

Mysteri


----- Original Message -----
From: <M311@aol.com>
To: <h-costume@net.indra.com>
Sent: Friday, November 05, 2004 4:27 PM
Subject: [h-cost] Fairy tales and nursery rhymes


> Doe anyone still have the info on the nursery rhymes and maybe fairy tales
> that told the meanings behind them?  You know the ones like it refered to
King
> or Queen so and so, the plague etc...  I didn't save it and it has come up
> where I could use the info now.
> Thanks,
> Kelly
> _______________________________________________
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>


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Subject: Re: [h-cost] Fairy tales and nursery rhymes
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Mys wrote:
> Check out  http://www.rhymes.org.uk/
> 
> This might help you out a bit.
> 


	although this site lists the Black Plague derivation for Ring around 
the Rosy... which someone recently posted is not correct? It's all I've 
ever heard for it. Does that make the rest of the info here suspect? I'd 
be curious what the derivation is on that rhyme, if it's not Plague.

     -Judy
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fairy tales and nursery rhymes
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Judy Mitchell wrote:

>     although this site lists the Black Plague derivation for Ring around 
> the Rosy... which someone recently posted is not correct? It's all I've 
> ever heard for it. Does that make the rest of the info here suspect? I'd 
> be curious what the derivation is on that rhyme, if it's not Plague.

Here are some good sites debunking Ring Around the Rosie.  There are 
numerous others.

http://www.snopes.com/language/literary/rosie.htm
http://www.users.zetnet.co.uk/amroth/RATR/ring.html
http://members.tripod.com/nicolaa5/articles/rosie.html

--Charlene

-- 
As long as I count the votes, what are you going to do about it? -- 
William "Boss" Tweed, Election Day, 1871
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Subject: Re: [h-cost] Roman cosmetics found in south London
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----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, November 07, 2004 3:04 AM
Subject: RE: [h-cost] Roman cosmetics found in south London


>
> >Isn't tin (stannous) oxide used by lifeguards as 200 spf sun block? That
> >white stuff?
>
> Zinc oxide?  I got these mixed up when I suggested possible sun-screen
> possibilities for this mix.  (May still have them mixed up.)
>

Yes it's zinc, especially popular with Australian Cricket players and
lifeguards, most commonly white but it can also be found in coloured forms
(we had some in yellow green and pink fluro colours when I was little). I've
actually thought that zinc was probably the easiest product to use as a
substitute for the lead based Elizabethan face paint. It could be expensive
to buy enough for your whole face (as most people just use it in strategic
places like the nose and cheekbones which are most likely to get burnt) But
I haven't bought zinc cream in years so I can't remember what the prices are
like. I think the Tin Oxide would work just as well as a sun-block because
it too provides a physical barrier unlike the sunscreens that you can't see
when you rub them on.
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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If you want to take side trips around the country you might want to consider http://www.megabus.com - it doesn't go everywhere but you can get from Manchester to London for as little as £1.50, however you spend twice as long getting there as by train.  Just something to think about...

Cheers,
Danielle

----- Original Message -----
> Oooh.. it didn't look all that far on the map.. But now that I know know better I will rethink this.  I'll definitely make Berwick street a destination when I do go in to town....... and then side trips everywhere. Nottingham would be wonderful!  Leeds I've heard a lot about there. And I'm sure I can get into some trouble in Sheffield as well...   How late in the evening do the trains run?  Do they all stop at an early hour like 7 or do they go until 10-11pm or so? 

<snip>

> Thaks so much everybody!  I really appreciate this!
> Crissy

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From: "Danielle Nunn-Weinberg" <dannw@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Sun, 07 Nov 2004 14:34:49 +0000
Subject: Re: [h-cost] OT: digital cameras
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Well, I have an EXCELLENT camera for photographing textiles.  It is an Olympus 5.0 megapixel - I don't have it with me here at school but I belive it is this one, the C5060:
http://www.olympusamerica.com/cpg_section/cpg_product_lobbypage.asp?l=1&p=16&bc=2&product=936

It takes fabulous low light shots (you turn of the flash and the pictures are usually much better that with it on.  It can also zoom enough to count threads and get an idea of the fibre type.  I can send you a close up example later if you wish, and email me off list.  I highly recommend it - when I was preparing for research trips to England for my Masters, we looked at all the cameras availible and this is the best one I found for textile work.

Cheers,
Danielle

> Well, sort of OT, as I would be using it for costumeing :)
> 
> I am looking to, finally, invest in a digital camera.  One of the
> things it would be used for is close-up pics of needlework & costumes so
> I thought this group might have some good experience with these things
> :).   I would like the ability to do pretty good close-ups, not
> interested in making any movies.  Anyone have a brand/model they would
> recommend?  
> 
> Catherine
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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Ringa around the Rosies Re: [h-cost] Fairy tales and nursery rhymes
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> 	although this site lists the Black Plague
> derivation for Ring around 
> the Rosy... which someone recently posted is not
> correct? It's all I've 
> ever heard for it. 
> be curious what the derivation is on that rhyme, if
> it's not Plague.
> 
>      -Judy

First published in 1880's & not found in other forms
prior to that, per the "Annotated Mother Goose
by William S. Baring-Gould, Ceil Baring-Gould" several
editions.
also per my unreliable memory.

Ann in CT 


		
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Does anyone have the Dec/Jan issue of Threads yet?  Marna Jean told me that my Costume Classroom was list as one of the best places to take online sewing classes.  If you have this new issue of the magazine, can you please scan the page of the magazine and send it to me.  It is on page 20.  This issue doesn't come out in the stores until Nov. 15... I am guessing subscribers get it earlier.

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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I don't get _Threads_ by subscription, so I haven't seen the listing,
but congrats, Penny! I know that I certainly got a lot from the classes
I took through your website!
--sue, going back to her holiday knitting ;o)

Penny Ladnier wrote:

> Does anyone have the Dec/Jan issue of Threads yet?  Marna Jean told
> me that my Costume Classroom was list as one of the best places to
> take online sewing classes.  If you have this new issue of the
> magazine, can you please scan the page of the magazine and send it to
> me.  It is on page 20.  This issue doesn't come out in the stores
> until Nov. 15... I am guessing subscribers get it earlier.

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Thank you Sue! I don't subscribe either.  I quickly went to B&N and they said the Dec./Jan. issue will not be out until Nov. 15.  Marna Jean had been at the hospital all week with her grandfather.  She came home quickly to get dressed for church, and saw the article in Threads.  She dropped me a very quick email and took off to church. 

I was really surprised.   MJ said they also mentioned her classes too!  She said costumeclassroom.com was near the top of the list for online sewing classes.

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
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Penny, I'm a subscriber and haven't received this issue yet in the mail.
Perhaps different mailing areas are on different schedules?
Congratulations!
Dawn


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: British trains, was Re: [h-cost] shopping in London
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>  How late in the evening do the trains run?  Do they all stop at an
early hour like 7 or do they go until 10-11pm or so? 

> Crissy

No-one seems to have answered this, so -
No, British trains don't stop running in the early evening.  See
http://www.nationalrail.co.uk/planmyjourney/time_table/journey_requirements.asp?&T2ID=8347_20044593238



Kate Bunting
Library, University of Derby
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From h-costume-bounces@indra.com  Mon Nov  8 09:58:42 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] another stays question 
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I am trying to make the stays pattern in Koehlers book. On page 343 there is 
a pattern draft.
It says first half of 18th century, but how early is it?
There seems to be 14 pieces sewed together for this. Is this really 
nescesary to make so many parts, or do you think that they only tape 
decorated it? There are many bone directions in this, perhaps this is why it 
was split up in so many parts.
I was considering to use this for my dress projekt. Has anybody out there 
tryed it?

Many greetings

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From h-costume-bounces@indra.com  Mon Nov  8 10:18:39 2004
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Subject: [h-cost] Italian Renaissance help
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Greetings to the list,
    I am new to this list so please forgive me if I am asking a question that you have heard a thousand times.  I am looking for information on outer garments for women of Italy during the 1450's.  if anyone can help it would be greatly appreciated :)

Aelyna
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Nor have I in California. But I've seen it in stores before I get it in the
mail sometimes. It isn't always consistent.
LynnD


> From: Dawn Luckham <dluckham@sympatico.ca>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Sun, 07 Nov 2004 22:28:27 -0500
> To: <h-costume@net.indra.com>
> Subject: [h-cost] Threads
> 
> Penny, I'm a subscriber and haven't received this issue yet in the mail.
> Perhaps different mailing areas are on different schedules?
> Congratulations!
> Dawn
> 
> 
> _______________________________________________
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I got my issue on Saturday, and yes, yuo were listed.  Yay.

Unfortunately, I do not have  scanner. Sowwy.

Wendy Z
Chicago, IL

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Subject: RE: [h-cost] Italian Renaissance help
Date: Mon, 8 Nov 2004 17:30:39 -0600
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1436
http://www.louvre.fr/anglais/collec/peint/rf0766/peint_f.htm

http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher
.woa/wa/largeImage?workNumber=NG1436&collectionSection=work

When I have more time I will see if I can find more.

De

__________________________________________
Greetings to the list,
    I am new to this list so please forgive me if I am asking a question
that you have heard a thousand times.  I am looking for information on outer
garments for women of Italy during the 1450's.  if anyone can help it would
be greatly appreciated :)

Aelyna

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Thank you :)
Aelyna

> 1436
> http://www.louvre.fr/anglais/collec/peint/rf0766/peint_f.htm
>
>
http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher
> .woa/wa/largeImage?workNumber=NG1436&collectionSection=work
>
> When I have more time I will see if I can find more.
>


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<snip> I didn't see any Snow Whites, though<snip>

Hmmmmmm, My little girl was a Snow White among a sea of other Disney
princesses. LOL. It seems like there were a lot more Cinderella's and
Belle's than anything else, though. I don't recall seeing another Snow
White. I think that may have something to do with none of the big
manufacturers making a decent Snow White gown. I looked at 6 different
dresses and finally made one myself because they were all wrong in some way.
Two companies even put big, red V shaped lace-up panels down the front. What
the hell is that? LOL

I live in the middle of a big city where everyone goes trick or treating at
the malls and I don't think I saw a single home-made costume other than my
daughter's. So different than when I was a kid. Granted, when I was a kid, a
store-bought costume was a printed bag you tied up the back like a hospital
gown with those vacuformed masks that would always cut your tongue when you
stuck it through that little breathing hole...

Ah... good times...
Alyxx
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<snip>

As for www.hyenaproductions.com, do you know any place to buy the same 
brocade fabrics for less?

Have you tried the Silk Trading Company, http://www.silktrading.com?  
Their San Francisco store is absolutely jaw dropping.  I did buy a nice 
crimson damask when I was there last.  Their website isn't nearly as 
good as the store, but maybe they will swatch.

Fran
Lavolta Press
http://www.lavoltapress.com<snip>

Silktradingco and hyena productions have much of the same merchandise... or
I should say, similar merchandise. They both claim to exclusively
manufacture their own products but someone is ripping someone else off
somewhere. LOL
I've found (again similar) other fabrics, same patterns-maybe different
color combos, downtown in the LA fabric district for less than you'll find
at either store.

Alyxx
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I'm not affiliated with either store except as a customer.  I only know 
Hyena from their website.  I know the Silk Trading Company from their 
local store, which is much larger than their own website or Hyena's.  I 
don't find their fabrics to be identical.    I don't know of great 
places to find most of the same fabrics supercheap, and I do shop around 
a fair amount.  Going to LA for fabric is not an option for me.  I'm in 
the same state, but about 500 miles away.  And the travel and lodging 
expenses would negate any savings on yardage. Not to mention I'd lose 
hours in travel time; whereas I can get to any of the  local fabric 
stores in about 45 minutes. 

I think in terms of a merchant who sells what I want at a price I can 
afford, versus a merchant who doesn't.  I buy from the first type of 
merchant.  But I see no reason to accuse the second merchant of being a 
"rip off."  "Rip off" implies dishonesty. There is nothing dishonest 
about someone selling something you don't want; or something you do want 
at a price you won't pay, or charging more than discount stores in your 
own geographic area.

Fran
Lavolta Press
http://www.lavoltapress.com

>They both claim to exclusively
>manufacture their own products but someone is ripping someone else off
>somewhere. LOL
>  
>

>I've found (again similar) other fabrics, same patterns-maybe different
>color combos, downtown in the LA fabric district for less than you'll find
>at either store.
>
>
>  
>
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Subject: Re: [h-cost] RE: silk damask
Date: Mon, 8 Nov 2004 21:20:56 -0600
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It seems to me that the standards for uniqueness of fabric are a bit more 
precise than we may think--I've seen strikingly similar fabrics, with the 
same basic design, using the same basic shading style, but when you put the 
two side by side it's clear that they're not copies. Inspired by one or the 
other, or both based on a third fabric, perhaps, but different enough to 
satisfy legalities and to be called unique or exclusive under the right 
circumstances.

Even a difference in the colors used can be enough to call it exclusive, in 
some cases--say Clarence House makes a limited run of a fabric in a specific 
design, and to one store it sells ALL the gold-on-black fabric of that 
design, while selling other color combinations to many stores. The store 
that got all of that gold-on-black fabric has an exclusive.

Not An Expert disclaimer, yada yada.

-E House 

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Hi,
 
I am not sure this will fit this list, but thought I would forward it anyway. Mount Vernon is looking for costumed reenactors to make a visitor's center film. 
 
Hope it works out for someone.
Heather 

Note: forwarded message attached.

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> Oh, heck, next you're going to tell me Thos. Crapper didn't 
> invent the toilet! My  cousins will be SO disappointed. Lauren

If he didn't, he certainly manufactured some of the early ones judging
by his name embossed on the water-tanks.

Teddy
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Little off topic.
18th. of february there is going to be a masked ball at the royal opera in 
Copenhagen. Followed by a ball at the Pallais of Moltke.
This is the very first time for such an event, and off cause i will go.
Then i wondered how you make a mask.
I was thinking about a half mask that only covers the eyes. I would like to 
make mine in the same material as my suit wich is green silk taffeta. Then i 
would like to embroider it with peacock feathers.
What interlinning should i use? Would it be ok to use the iron on stuff?

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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In a message dated 11/9/2004 5:17:34 AM Eastern Standard Time, 
drewscph@post12.tele.dk writes:
What interlinning should i use? Would it be ok to use the iron on stuff?
I wouldn't simply because of what it might do to the silk taffeta--test a 
sample first, though, and see.  I have used a base of buckram and glued the 
fabric on.  I have also used a ready-made half mask as the base and glued the 
fabric on that.

I know you do beautiful embroidery, Bjarne, but why not use REAL peacock 
feathers--say a small spray springing up from one corner?

Ann Wass
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I just bought a plain fabric mask already formed and covered it with my own fabric and embellished from there.  you can also make a mask form from paper mache and cover that as well... the possibilities are endless!
Crissy

 -------------- Original message ----------------------
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Little off topic.
> 18th. of february there is going to be a masked ball at the royal opera in 
> Copenhagen. Followed by a ball at the Pallais of Moltke.
> This is the very first time for such an event, and off cause i will go.
> Then i wondered how you make a mask.
> I was thinking about a half mask that only covers the eyes. I would like to 
> make mine in the same material as my suit wich is green silk taffeta. Then i 
> would like to embroider it with peacock feathers.
> What interlinning should i use? Would it be ok to use the iron on stuff?
> 
> Bjarne
> 
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
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> h-costume@mail.indra.com
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Subject: RE: [h-cost] RE: chance of a lifetime for 18th century
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There is no forwarded message - can you point us to the information?
-Megan

Heather wrote: 
I am not sure this will fit this list, but thought I would forward it
anyway. Mount Vernon is looking for costumed reenactors to make a visitor's
center film. 
 
Hope it works out for someone.
Heather 

Note: forwarded message attached.


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Subject: [h-cost] I'm going shopping in Sydney
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Hey all, 
Soon, I don't know when, but soon, I will be going to Sydney for about
3 months. While there, I would like shop shop shop. So, is there a
place in Sydney that sells fabulous Aussie wool? What sort of price
ranges does it come in? What else would someone who mostly does
pre-1600 costuming, but also needs to buy a ton of Christmas presents
want to look for there?
thanks!
Joyce
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Subject: [h-cost] RE: Silk Damask
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<snip>

Message: 6
Date: Mon, 08 Nov 2004 18:52:24 -0800
From: Lavolta Press <fran@lavoltapress.com>
Subject: Re: [h-cost] RE: silk damask
To: Historical Costume <h-costume@indra.com>
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I'm not affiliated with either store except as a customer.  I only know 
Hyena from their website.  I know the Silk Trading Company from their 
local store, which is much larger than their own website or Hyena's.  I 
don't find their fabrics to be identical.    I don't know of great 
places to find most of the same fabrics supercheap, and I do shop around 
a fair amount.  Going to LA for fabric is not an option for me.  I'm in 
the same state, but about 500 miles away.  And the travel and lodging 
expenses would negate any savings on yardage. Not to mention I'd lose 
hours in travel time; whereas I can get to any of the  local fabric 
stores in about 45 minutes. 

I think in terms of a merchant who sells what I want at a price I can 
afford, versus a merchant who doesn't.  I buy from the first type of 
merchant.  But I see no reason to accuse the second merchant of being a 
"rip off."  "Rip off" implies dishonesty. There is nothing dishonest 
about someone selling something you don't want; or something you do want 
at a price you won't pay, or charging more than discount stores in your 
own geographic area.

Fran
Lavolta Press
http://www.lavoltapress.com

>They both claim to exclusively
>manufacture their own products but someone is ripping someone else off
>somewhere. LOL
>  
>I've found (again similar) other fabrics, same patterns-maybe different
>color combos, downtown in the LA fabric district for less than you'll find
>at either store.
>
>>
Fran,
I was commenting on my own shopping experience - from ordering from Hyena
online to shopping at Silk Trading Co.'s LA store, to shopping downtown LA.
People on this list are from many countries and discuss shopping in many
places I cannot get to. (I am jealous of those discussing the impending
London trip)

My comment on "ripping off" was not about price but about design, in the
same way that clothing designers rip each other's designs off with small
changes (or not) for their next season's line.

For example, Hyena manufactures a silk taffeta with satin stripes woven in
and embroidered with silk vines and velvet leaves. Seen on this page:
http://www.hyenaproductions.com/store+taffeta+velvetembroidered.htm
Silk Trading Co carries this same fabric in many of the same color ways and
some additional color combos. During a trip downtown, I saw several other
stores that carry this same fabric, too, many of which sold it for less than
Silk Trading and Hyena. Since each of these vendors claim exclusivity of
these fabrics, I am quite sure that they all vary in some small way - the
shade of the leaf green or the satin stripe or whatever - so they can claim
it is all their own, and they are correct. But someone, somewhere came up
with the original design which has been "ripped off" and repeated by several
different merchants probably getting them all made by the same mill.

I make no moral judgment about this. It is part of the business. My only
reason fro bringing it up is that if you see some fabulous fabric at one of
the pricier vendors, you may find something achingly similar for less money
at another vendor. It may not be an exact copy but will be close enough to
satisfy your creative needs while helping your pocketbook. In general,
though, downtown vendors who sell fabric of the same quality as Hyena, et al
are not selling it "super cheap" as you say. It will save you some money but
you won't find, say, a $100 Hyena taffeta for $20. Depending on your volume
and what part of the season you're shopping in, it might be a significant
savings.

As for not being able to get to LA, if you see something you like at Silk
Trading or Hyena, let me know and I may be able to pick it up for you
downtown.

Alyxx
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Subject: [h-cost] Check out these 100-year-old *color* photographs
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Russia, pre WWI

>http://www.gridenko.com/pg/index.htm
>
>See the sidebar for information on how these were taken....beautiful 
>stuff!  Some of those might be of interest to the costume list folks.

This was just forwarded to me.  Beautiful pictures, and very interesting 
history.  There are more pictures if you click on the link "The Empire that 
was Russia"

Genie

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Subject: [h-cost] Re: masks 
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Hi Bjarne,

Give me a couple of days to throw together a webpage
for you. This is the 3rd or 4th request for
information on Maskmaking and the history of the
Venetian Carnevale inside of a week. I happen to teach
classes on this subject. I make masks from just about
anything, but concentrate on leather and papier mache
for their flexibility and ease of use. My notes
include discussion on other materials that can be used
as well. Using matching fabrics shouldn't be a
problem.

Kathy

> Then i wondered how you make a mask.
> I was thinking about a half mask that only covers
> the eyes. I would like to 
> make mine in the same material as my suit wich is
> green silk taffeta. Then i 
> would like to embroider it with peacock feathers.
> What interlinning should i use? Would it be ok to
> use the iron on stuff?


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Subject: Re: [h-cost] Check out these 100-year-old *color* photographs
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Genie Barrett wrote:

> Russia, pre WWI
> 
>> http://www.gridenko.com/pg/index.htm
>>
>> See the sidebar for information on how these were taken....beautiful 
>> stuff!  Some of those might be of interest to the costume list folks.
> 
> 
> This was just forwarded to me.  Beautiful pictures, and very interesting 
> history.  There are more pictures if you click on the link "The Empire 
> that was Russia"


Amazing images. I feel as if I could step right through into that world. 
  Something about the light in them makes them seem more than real. And 
seeing the clothing and textiles in color...


Dawn


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Subject: [h-cost] RE: chance of a lifetime for 18th century clothing
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Sorry! My first try at this did not work. Here is the email text as I recieved it:

Heather

>>>>>>>>>>>>>>>>>

If you've ever been to Colonial Williamsburg, you may have seen the movie they show in the visitor center.That movie was shot in the early 1950's, and is still going strong.Now Mount Vernon wants to do one.So if you want to have your grandchildren point you out in a movie to your great-grandchildren when then take them to Mount Vernon fifty years from now, note well the following:"Mount Vernon is producing a new short film on the life of GeorgeWashington, "Father Of His Country" for their new visitors center. Directed by Ron Maxwell ("Gettysburg", "Gods & Generals"), the project will befilming in Virginia the first two weeks of February and again at the end of April / beginning of May.To apply, go to this website:http://www.FatherOfHisCountry.comThere are parts for both military and civilian reenactors / livinghistorians.  The largest scene in the winter shoot will be a re-creation of the Battle of Trenton, being filmed the weekend of February 5-6 in Yorktown, VA.We are look!
 ing for
 approximately 200 reenactors with early War Continental and/or and Virginia militia impressions for the Trenton scenes.  This is PAID WORK. The pay will be based on a "gear bump" system - those who have authentic clothing /uniforms and weaponry will receive a higher rate of pay than those who do not have gear.The Director also wants approximately 150 Hessians in the Trenton battle. As there aren't this many reenactors doing a Hessian impression in the whole USA, this will be a challenge (to say the least!) and wardrobe willinevitably have to be provided. However, if anyone is interested indeveloping a Hessian impression for the film, we are putting together some potential package deals, workshops, etc to make this more tenable for those who are interested.Civilian scenes will include the Virginia House of Burgesses & Continental Congress, where we're seeking look-alikes for various historical personages, and a couple of large street scenes being shot in the Spring.The sprin!
 g shoot
 will feature the surrender at Yorktown (approximately 500 reenactors needed), the French & Indian War Battle of Monongahela("Braddock's Defeat") and the scene at Newburgh, NY where Continentalofficers tried to persuade Washington to be king -- so the more folks with officer impressions as we can round up, the better.There is LIMITED wardrobe available so we are looking for people who have some if not ALL the right gear.  Those with correct uniforms and/or gear will receive a bonus, according to what it is you have and what of it can be used. We would also be interested in renting same from you should you have extra equippage.   To participate, you need to send us a photo, preferably of you in your 18th century clothing. On the website, you can upload up to 5 photographs showing different impressions.  If you don't have digital copies of your photos or have access to a scanner, you can also mail photos and your resume to:Piedmont Films Attn:Russ Richards-Historical Entertain!
 ment508
 Kendrick Lane Front Royal VA. 22630Best wishes,Kathryn CoombsDeputy CEO / Historical Entertainment, LLCCivilian Coordinator"



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----- Original Message ----- 
From: "Gianetta" <joycebre@gmail.com>
To: <h-costume@net.indra.com>
Sent: Wednesday, November 10, 2004 6:56 AM
Subject: [h-cost] I'm going shopping in Sydney


> Hey all,
> Soon, I don't know when, but soon, I will be going to Sydney for about
> 3 months. While there, I would like shop shop shop. So, is there a
> place in Sydney that sells fabulous Aussie wool? What sort of price
> ranges does it come in? What else would someone who mostly does
> pre-1600 costuming, but also needs to buy a ton of Christmas presents
> want to look for there?
> thanks!
> Joyce

Only really good spot I know of is fine wools direct, You can see their
website at http://www.finewoolsdirect.com.au/ they aren't limited to wool
but that's what they mostly focus on. Aussie wool it may have been but who
knows Australia does not process it's own wool in commercial quantities,
virtually all of it is exported as raw fleece. Plus the regular
(countrywide) chain fabric shops Lincraft (www.lincraft.com.au/) and
Spotlight (www.spotlight.com.au/),  and Home Yardage (which doesn't have a
website, it is a factory outlet store and is therefore a bit hit and miss
about it's bargains)
Elizabeth
----------------------------------------------------------------------------
----
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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In a message dated 11/9/2004 3:38:28 PM Eastern Standard Time, 
dawn@reddawn.net writes:
I feel as if I could step right through into that world. 
  Something about the light in them makes them seem more than real.
I saw an exhibit of these at the Library of Congress several years ago.  Yes, 
they were amazing, something about the color process made them very vivid, 
and they don't look exactly like modern photographs, of course.  We have gotten 
so used to seeing modern photos that I think we forget they are not the real 
thing.  That may be why these images seem to have that "more than real" look.

Ann Wass
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Subject: [h-cost] Tulsa linen "museum"
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Has anyone ever been to this place? This is the sum total of information 
I can find on it.

		
"International Linen Registry Museum & Gift Shop
4107 S. Yale Ave. (inside Tulsa Promenade Mall)
(918) 622-5223

Ancient linens from around the world are on display. Needle and textile 
arts demonstrations and seminars are offered. Open Monday-Saturday, 10 
a.m.-9 p.m.; Sunday, noon-6 p.m."


We're looking at taking a long weekend in Tulsa to visit friends before 
the holiday season and are looking for historical themed tourist things 
to do. Would appreciate hearing from anyone who might have seen this place.


Dawn

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Subject: Re: [h-cost] I'm going shopping in Sydney
Date: Wed, 10 Nov 2004 08:54:41 +1100
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While looking for Home Yardage's website I found this guide to fabric
shopping in Sydney it's aimed at the SCA college at Sydney Uni and it's got
the addresses for all of the fabric shops.
http://www.sca.org.au/st_ursula/fabric.html
HTH
Elizabeth

> > Hey all,
> > Soon, I don't know when, but soon, I will be going to Sydney for about
> > 3 months. While there, I would like shop shop shop. So, is there a
> > place in Sydney that sells fabulous Aussie wool? What sort of price
> > ranges does it come in? What else would someone who mostly does
> > pre-1600 costuming, but also needs to buy a ton of Christmas presents
> > want to look for there?
> > thanks!
> > Joyce
>
> Only really good spot I know of is fine wools direct, You can see their
> website at http://www.finewoolsdirect.com.au/ they aren't limited to wool
> but that's what they mostly focus on. Aussie wool it may have been but who
> knows Australia does not process it's own wool in commercial quantities,
> virtually all of it is exported as raw fleece. Plus the regular
> (countrywide) chain fabric shops Lincraft (www.lincraft.com.au/) and
> Spotlight (www.spotlight.com.au/),  and Home Yardage (which doesn't have a
> website, it is a factory outlet store and is therefore a bit hit and miss
> about it's bargains)
> Elizabeth
> --------------------------------------------------------------------------
--
> ----
> Elizabeth Beaumont              Elizabeth Walpole
>              in                         OR                 in
> Politarchopolis, Lochac        Canberra, Australia
>              ewalpole@austarmetro.com.au
>
> _______________________________________________
> h-costume mailing list
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Hi Joyce,

Firstly, as I am curious why will you be in Sydney?

Secondly shopping:
One of our College members wrote a fantastic article on the fabric shops of 
Sydney you can find it here:
http://www.sca.org.au/st_ursula/fabric.html
Unfortunately we don't sell a lot of dress weight Australian wool, as we ship 
our raw product off to other countries to be made into cloth, and so it is 
just as expensive to buy wool in Australia as it is elsewhere and in anywhere 
other than the major cities it is hard to find.

One shop that Ildaria does not mention is Fantasy Fabrics, on Commonwealth St 
in Surry Hills, just around the corner from E&M Greenfield. This shop sells 
designer fabrics, and Italian imported wools and sometimes you can find things 
on special.

Birka Traders is in Marrickville if you do really early, e.g. Viking and Saxon 
they sell jewellery and metal items by order. Unfortunately their websit eis 
down.

Otherwise there's some good bead shops:
The Bead Shop, Enmore Rd, Enmore
One (I forget the name) in the Rocks, in the wooden building next to the Rocks 
markets. Go down there any weekend and ask the people on the stalls at the 
markets.
Photios Brothers, Druitt St, Sydney. Near Town Hall. Sells buttons and notions 
and all sorts of interesting things.

There are some other places depending on your interests, including a millinery 
supply shop, a calligraphers (if you are into that) a leather supply shop, and 
some other things that I am forgetting this morning at work. Happy to give you 
more help when you arrive. I live in the Inner West of Sydney and work at the 
University of Sydney so I'm reasonably central.

Cheers, 
Karinne


Quoting Gianetta <joycebre@gmail.com>:

> Hey all, 
> Soon, I don't know when, but soon, I will be going to Sydney for about
> 3 months. While there, I would like shop shop shop. So, is there a
> place in Sydney that sells fabulous Aussie wool? What sort of price
> ranges does it come in? What else would someone who mostly does
> pre-1600 costuming, but also needs to buy a ton of Christmas presents
> want to look for there?
> thanks!
> Joyce
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 




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>
>
>Fran,
>  
>

<snip>

>My comment on "ripping off" was not about price but about design, in the
>same way that clothing designers rip each other's designs off with small
>changes (or not) for their next season's line.
>  
>
I am sure that if this season's hot look in decorating fabrics is 
declared to be big chartreuse flowers with black leaves, a number of 
manufacturers get busy producing fabrics that have big chartreuse 
flowers with black leaves.  Possibly at different prices.  And probably 
similar enough (even if they don't look exactly alike) that a consumer 
who wants that "look" can find several fabrics that would do. 

Just like, if chartreuse miniskirts are in lots of companies will make them.

But I  still think the phrase "rip off" implies some illegal and/or 
unethical action.  I'm not even sure "copy" is correct. 

>For example, Hyena manufactures a silk taffeta with satin stripes woven in
>and embroidered with silk vines and velvet leaves. Seen on this page:
>http://www.hyenaproductions.com/store+taffeta+velvetembroidered.htm
>  
>
I may well be missing something on a quick look, but I don't see any 
statement that either Hyena manufactures this fabric or that it is an 
exclusive.

The Silk Trading Company's statement

http://www.silktrading.com/stcTextilesHome.aspx

says that they design fabrics and have them manufactured.  But they do 
not actually claim to design and manufacture _all_ their stock.  Merely 
their own "collection," which could be only one line of their stock, or 
several, but not all of it.

I don't know how the STC actually works.  But it could be like many 
department stores.  Department stores do things like manufacture their 
own separate collections of petites, plus sizes, towels, whatever, with 
their own label, but they also sell other clothes with other 
manufacturers' labels.  And  they claim to have "exclusives"--of their 
own lines, which I think most consumers understand.

Also, saying they manufacture a design is not a claim that they don't 
sell it to anyone else as well as carrying it themselves. 

>During a trip downtown, I saw several other
>stores that carry this same fabric, too, many of which sold it for less than
>Silk Trading and Hyena. Since each of these vendors claim exclusivity of
>these fabrics,
>
I think you have to take their statements literally, legalistically, and 
not broadly.

However, I'm not involved with either company.  If anyone is really 
interested I'd suggest contacting them both and asking what, in fact 
their policies are and what any of their statements as to manufacture or 
exclusivity really mean.

>But someone, somewhere came up
>with the original design which has been "ripped off" and repeated by several
>different merchants probably getting them all made by the same mill.
>  
>
I'm not sure it's one ur-design that everyone copies, and I doubt  all 
textile manufacturers use the same mill ... Anyone know how the textile 
industry works, instead of speculating?

>My only
>reason fro bringing it up is that if you see some fabulous fabric at one of
>the pricier vendors, you may find something achingly similar for less money
>at another vendor.
>
As far as I can tell, the average sewer in the US has a dismal 
brick-and-mortar choice between Wal-Mart and Jo-Ann's.  Online fabric 
stores are a great boon, but still, only a small portion of the fabrics 
manufactured are sold there.  I live in an area rich in fabric stores, 
most pretty upscale. There's also a local (or bigger?) chain called 
Discount Fabrics, which sells mostly vaguely labeled plain fabrics, not 
all that great but cheap, plus some fairly bizarre ones (purple leopard 
faux fur and suchlike).  There are a few good online discount stores but 
still .  . . Well, what I'm getting at is I live in a really good area 
for buying fabric and I, personally, am still not terribly likely to 
find "the same thing cheaper elsewhere."   Unless it's a real basic. I 
find fabric I like, sure.  I'm always finding fabric I like.  But it 
might look nothing like a fabric I decided was too expensive for me.

>
>As for not being able to get to LA, if you see something you like at Silk
>Trading or Hyena, let me know and I may be able to pick it up for you
>downtown.
>
>
>  
>
Thanks for the offer but  . . . I've never had any luck with other 
people buying fabric for me.  Or clothes, for that matter. 

Fran
Lavolta Press
http://www.lavoltapress.com

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Subject: [h-cost] Re: h-costume Digest, Vol 3, Issue 888 RE: Silk Damask
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Something my daughter learned when she was working at a fabric store on 
why pricing is so different for something that looked the same at 
different places:

The manufacturers have to do multiple runs to get the registration and 
color balances right on the presses for printing the fabric.  So the 
first run is "Let's see if we're in the ballpark" and that ends up at 
the discount stores.  The second run is "Hey that's not so bad, but not 
quite right" and ends up in the chain fabric stores.  The third (or 
higher) "It's perfect" then ends up in the high end stores.

This was from the buyer of the decorator fabrics.  I would think that 
something similar holds for fashion fabrics.

Jeanine
in MA





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From: stilskin@netspace.net.au
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] I'm going shopping in Sydney
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> > Soon, I don't know when, but soon, I will be going to Sydney for about
> > 3 months. While there, I would like shop shop shop. So, is there a
> > place in Sydney 

No. Get on a plane and fly to Melbourne and find the Job Warehouse at the top 
end of Bourke Street, an old business ran by a cantankerous old family that has 
not re-arranged its stock in at least 40 years (there is a dusty bold of green 
Miller shirt fabric in the window). Imagine the LA garment district shoved into 
one old building that has only had one alteration in the last two generations, 
a No Smoking sign.

In short, if it is not at the Job Warehouse, it does not exist. You just have 
to be willing to barter (argue, actually), seeing they don't even know how much 
they paid for the stuff and little interest in serving people who do not know 
what they want; and climb over bolts and racks and whatever else has collapsed 
in some doorway -- that is if they are in a good mood on the day you visit and 
allow you go go back beyond the front room,

-C.


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From h-costume-bounces@indra.com  Tue Nov  9 22:27:36 2004
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From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: masks 
Date: Tue, 9 Nov 2004 19:26:44 -0800
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Ohhh I'd love to see it.  I just returned from Venice and the mask-making 
there is magnificent. I bought mine from a true mask artist, rather than 
just from a street vendor, as some of those, while beautiful, are made 
inexpensively in China.  I just felt I wanted to support the actual artists 
who do this.

It's an amazing thing to see them everywhere, shop after shop of gorgeous 
masks.  I've got one in crafted leather and one in papier mache.

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: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: <h-costume@indra.com>
Sent: Tuesday, November 09, 2004 12:34 PM
Subject: [h-cost] Re: masks


> Hi Bjarne,
>
> Give me a couple of days to throw together a webpage
> for you. This is the 3rd or 4th request for
> information on Maskmaking and the history of the
> Venetian Carnevale inside of a week. I happen to teach
> classes on this subject. I make masks from just about
> anything, but concentrate on leather and papier mache
> for their flexibility and ease of use. My notes
> include discussion on other materials that can be used
> as well. Using matching fabrics shouldn't be a
> problem.
>
> Kathy
>
>> Then i wondered how you make a mask.
>> I was thinking about a half mask that only covers
>> the eyes. I would like to
>> make mine in the same material as my suit wich is
>> green silk taffeta. Then i
>> would like to embroider it with peacock feathers.
>> What interlinning should i use? Would it be ok to
>> use the iron on stuff?
>
>
> ______________________________________________________________________
> Post your free ad now! http://personals.yahoo.ca
> _______________________________________________
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>From: Dawn <dawn@reddawn.net>
>Has anyone ever been to this place? This is the sum total of information
>I can find on it....

Yup.  Depending on what's on display it can be really interesting.  It's not 
very large, set up in a storefront in the Promenade Mall.  They change out 
the displays every few months or so.  I'm not sure what they are showing 
right now.

Marc

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Subject: Re: [h-cost] period seam finishing
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>Am wanting to make nightdresses/chemises in 1) Regency and 2) circa 1880 fashion and would really like the interiors to feel as period as the exteriors.
>  
>
I don't know of any primary sources for pre-Victorian stitches and seam 
finishes other than the _Workwoman's Guide_.  IMO stitches and seams 
would have changed less than designs/patterns since the Regency. 

> 
>I have a copy of the Workwoman's Guide, but it's post-Regency, plus it's packed away due to house repairs where I can't get to it too easily <g>, and have all kinds of reprint sewing books and fashion history books, but none of them really cover these types of details! Then too I don't know how the advent of the sewing machine would've affected seam finishing by 1880.
> 
>  
>
>
My new anthology _Fashions of the Gilded Age_ has an 87-page sewing 
manual in Volume 2.  All the information and illustrations are from late 
1870s and early 1880s sources.  It includes instructions for the 
stitches and seams used for plain sewing, and a section on making 
nightdresses and other personal linens.  The nightdress patterns are in 
Volume 1, along with their assembly instructions.

Fran
Lavolta Press Books on Historic Costuming
Two new books on women's clothing 1877-1882
http://www.lavoltapress.com
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Date: Wed, 10 Nov 2004 08:15:55 -0800 (PST)
Subject: Re: [h-cost] period seam finishing
From: "Diana Habra" <dch@inreach.com>
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> Dear folks,
>
> Might anyone know where instructions for finishing seams might be found?
> Am wanting to make nightdresses/chemises in 1) Regency and 2) circa 1880
> fashion and would really like the interiors to feel as period as the
> exteriors.


The one book I thought of that might help for the Regency period is this
book:

Costume Close-up: Clothing Construction and Pattern, 1750-1790
Linda Baumgarten, Florine Carr, John Watson

It is slightly earlier than Regency but there is a chemise in it that my
friend reproduced and it came out looking very authentic.  And as someone
said, the stitches would not have changed that much and the book has some
wonderful VERY close-up pictures that show stitching and construction.

As for the 1880's, I can speak to how chemise edges were finished, but any
actual outer garments I have seen (mostly at antique fashion expos) didn't
have finished edges.  They used pinking shears to cut the fabric and they
hid their edges under trims or other layers of fabric.  At least that was
what I observed.

Hope that helps!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From h-costume-bounces@indra.com  Wed Nov 10 11:36:08 2004
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Do you mean the 1780s? 

Fran
Lavolta Press
Two new books on 1870s and 1880s clothing
http://www.lavoltapress.com

>
>As for the 1880's, I can speak to how chemise edges were finished, but any
>actual outer garments I have seen (mostly at antique fashion expos) didn't
>have finished edges.
>  
>
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Subject: [h-cost] Maskmaking
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I am very excited to see this information. I love masks! Keep us all posted :-)
                                          Angelique
 


 
Message: 4
Date: Tue, 9 Nov 2004 15:34:41 -0500 (EST)
From: Kathy Page 
Subject: [h-cost] Re: masks 
To: h-costume@indra.com
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Hi Bjarne,

Give me a couple of days to throw together a webpage
for you. This is the 3rd or 4th request for
information on Maskmaking and the history of the
Venetian Carnevale inside of a week. I happen to teach
classes on this subject. I make masks from just about
anything, but concentrate on leather and papier mache
for their flexibility and ease of use. My notes
include discussion on other materials that can be used
as well. Using matching fabrics shouldn't be a
problem.

Kathy

> Then i wondered how you make a mask.
> I was thinking about a half mask that only covers
> the eyes. I would like to 
> make mine in the same material as my suit wich is
> green silk taffeta. Then i 
> would like to embroider it with peacock feathers.
> What interlinning should i use? Would it be ok to
> use the iron on stuff?


			
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In addition to Fran's books, you might want to try:
http://www.vintagesewing.info/19th.html
This is from 1893, but A) I'd be surprised if construction techniques 
changed too much between 1880 and 1893 and B) it's free!

-E House

PS--I know this question has been asked before, but I can't remember the 
answer... Fran and other published authors, do you make less on a book if we 
order through it Amazon? 

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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Treadle sewing machines
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I had a treadle machine once and absolutely loved it. I was emotionally 
attached to it in a way I'll never be attached to my modern power sewing 
machines. With the treadle machine, I was part of the process, not just 
somebody pushing fabric under a needle while the machine does it's thing.

Someday I hope to get another treadle machine.

Katie

>Am a fashion lover since I was a bitty kid but didn't start sewing until I 
>bought two treadle sewing machines this past year. They sew so easily and 
>nicely that before I knew it, was hooked. It's a really cool feeling to 
>work on a piece on one of the machines and realize that it's likely 
>someone else did something quite similar years and years ago.


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Treadle sewing machines
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  This is ranch country, and electricity wasn't widely available until the fifties.  I got
my shiny Singer treadle, 1922 model, complete with a 1926 Singer handbook and a
1940s "save money for the war effort" extension service booklet at a resale shop, and
I love them dearly.... with the right needle, you can sew through anything short of
concrete with them!!

Liadain


-----Original Message-----
From: Katie Pleasance <Katie@katiesorchids.com>
Sent: Nov 10, 2004 11:39 AM
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] Treadle sewing machines

I had a treadle machine once and absolutely loved it. I was emotionally 
attached to it in a way I'll never be attached to my modern power sewing 
machines. With the treadle machine, I was part of the process, not just 
somebody pushing fabric under a needle while the machine does it's thing.

Someday I hope to get another treadle machine.

Katie

>Am a fashion lover since I was a bitty kid but didn't start sewing until I 
>bought two treadle sewing machines this past year. They sew so easily and 
>nicely that before I knew it, was hooked. It's a really cool feeling to 
>work on a piece on one of the machines and realize that it's likely 
>someone else did something quite similar years and years ago.


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Generally, yes, publishers make less from books sold through Amazon. 

Amazon discounts are putting many small retailers out of business.  Some 
people believe this is an intentional strategy, and that once Amazon has 
reduced the competition enough they will quit giving the book discounts, 
or at least give fewer and smaller ones. Some people believe Amazon's 
book "store" is not really doing all that well and their discount 
strategy is partly fueled by other, more successful "stores."  However, 
I don't think anyone outside Amazon knows for sure.

Finally, Amazon discounts are contributing to higher cover prices.

This gets very complicated but:  The entities a publisher can sell to are:

Distributors, who sell to wholesalers and retailers, and sometimes libraries
Wholesalers, who sell to retailers and libraries
Retailers, who sell to consumers
Libraries, who sell to no one
Consumers, who sell to no one

The higher an entity is in the food chain the bigger discount they need, 
with discounts to distributors running as high as 80% or so off the list 
price/cover price, discounts to wholesalers running 55%, discounts to 
bookstores running 40%, and discounts to consumers usually 0%. 

Another factor is labor in both marketing and in processing orders.  
Distributors get a huge discount partly because they supposedly actively 
market for publishers and take that time and expense off the publisher's 
hands (but many distributors are not very effective, and some demand to 
be the publisher's _only_ sales channel).  Otherwise, the publisher must 
do large retailer mailings several times a year. If they sell to 
libraries they must contact libraries, if they sell to consumers they 
must contact (probably thousands) of them.  Although opinions as to 
marketing email vary widely, the postal service is preferred by many 
recipients.

It takes about the same amount of time for the publisher to process and 
even pack an order for a hundred books as for one book.  Order size also 
doesn't matter in the monthly reminders sent to slow-paying retailers 
and wholesalers.   Or in tracking delayed shipments.  Or answering 
customer questions.  And of course, overhead expenses (warehousing, 
office equipment, etc.) are not tied to order size.

Every publisher makes out a discount schedule when they start business, 
detailing what discounts they will give to which entities for what 
number of books.  This schedule is based on an estimate of how many 
books they will sell through each channel. It may be overridden by 
signed contracts with specific distributors or wholesalers who demand 
certain terms as standard for _their_ business.  Every publisher's 
discount schedule is somewhat different (and not all of them work for 
the publisher).

Every book has a cover price/list price.  This should be determined 
before the publisher announces the book.  And, usually, before the 
publisher is completely sure of the book's manufacturing cost.  
Nonetheless, the cover price is based on the estimated manufacturing 
cost.  There are various ways to figure this, but these days the 
manufacturing costs also usually include all the editing, layout, and 
other pre-printer work.  Plus, the cover price is based on the 
publisher's estimate of how many copies will be sold through each 
channel.  For example, how many at 80% to a distributor, how many at 0% 
to consumers, and so on.

The publisher has, legally and in practice, zero control over what a 
retailer or wholesaler charges for the book. The discount is based on 
the cover price, but retailers can and do charge less or more than the 
cover price.

OK, so let me turn to how customers buy.  A publisher is almost 
compelled to be carried by a certain huge wholesaler who dominates the 
book industry--and whose database is distributed to and widely used by 
almost every bookstore.  If the clerk denies all knowledge of a book you 
_know_ exists, it's because that one wholesaler does not carry it.  To 
avoid this publishers will do almost anything to get into that 
wholesaler--who, BTW, does not accept publishers with fewer than ten 
books.  That is why many small presses sign up with distributors whose 
books _are_ listed by the wholesaler.  We do not meet the wholesaler's 
official requirements, but they have carried us since we had only one 
book and we have survived several purges of unprofitable and very small 
publishers.  So I can tell you that wholesaler contractually demands a 
55% discount and they do not negotiate. 

Bookstores prefer to order from as few sources as possible because it 
makes their accounting and order tracking a lot easier.  They 
particularly like the 800-pound wholesaler mentioned above.  Although 
they occasionally order direct from publishers, most prefer not to.  
Other types of retailers, such as reenactment suppliers, are more likely 
to order direct from a publisher.  Amazon is a retailer, and they too 
order copiously from the 800-pound wholesaler.

Consumers used to buy direct from those publishers who would sell to 
them direct, much more often than they do now.  That is because many go 
where there is a discount, and they think first of Amazon. 

So, a great many books that were once sold at no discount to consumers 
are now sold at 55% to a wholesaler because the purchase is from Amazon, 
or Barnes & Noble, or a similar online discount store.  To make up for 
this, publishers are raising their cover prices.

Our Amazon orders, in fact a very large (and increasing) part of our 
orders overall, go through the 800-pound wholesaler.  However, Amazon 
has a program called Amazon Advantage, for buying direct from 
publishers. We do not participate in it because, for one thing, there is 
little advantage to us.  For another, we believe it is unfair 
competition for the small retailers we want to support as fellow 
businesses. In this program Amazon requires the wholesaler discount of 
55%, which enables them to give consumers bigger discounts than 
retailers who get only 40%. The publisher is also allowed to list books 
with Amazon directly (we can't, Amazon can really screw up database 
entries, and they ignore all our corrections) and to post back cover 
copy and quotes from published reviews (we are not allowed to post 
marketing material).  The big advantage, however, is for publishers who 
are not carried by the 800-pound wholesaler and for whom Advantage seems 
the only way to get into Amazon. 

There _ is _supposed to be a non-Advantage way to list with Amazon 
directly.  But it is very obscure.  And Amazon penalizes publishers who 
do that by announcing very long delivery times.  Publishers who fill 
Amazon orders the day they get them have their books listed as 
"available in 4-6 weeks."

Barnes & Noble online has a similar buying program (but we sell to them 
through the wholesaler).

Some points: 

Every book is different, but a reduced price does not necessarily make 
any significant increase in sales.  As far as I can tell we're selling 
almost exactly  same number of books to almost exactly the same people; 
we just sell most at 55% off now.  The math for this is complicated, but 
you actually have to sell a whole lot more books, not a few more, to 
make up for any significant price reduction.  It does not work, at least 
for us, to give everyone a big discount because we can't afford it; we 
have to stagger our schedule.  Publishers with schedules not based on 
the entity sold to, base the schedule on quantity, and few consumers 
want more than one copy of a book.

The Amazon sales ranking system is so arcane no one seems to understand 
it, including Amazon employees. But it is clear that its tie to book 
sales is, well, tenuous.  A publisher of a slow-selling book can move 
its rank 100,000 points or so by buying a handful of  copies of their 
own book within an hour or so. I think it's silly, but some publishers 
do exactly that so they can advertise a better ranking, which they think 
results in real sales. 

As for our position on Amazon--we don't object to selling to the 
800-pound wholesaler. They are quite reasonable to work with.  We do 
feel Amazon is hard on some of the small retailers we sell to--which 
also means we don't get orders at 40% off from them, after they go 
under.  Yes, Amazon is losing us money per book, but we're raising our 
cover prices as needed to make up for it.  Which is the strategy of most 
other publishers. 

We are, BTW, doing extremely well and particularly with _Fashions of the 
Gilded Age_.  I was afraid a higher cover price and two volumes would 
discourage sales (and used that format anyway because it was right for 
the content).  But that has not happened.  This has been our best year 
so far.  We are actively working on another book, and have three others 
in the pipeline.  (We don't announce our books before they are 
available, so all I'll say is we are not dedicated to producing a range 
of identical books for different eras, nor are we dedicated to any kind 
of chronological order.)

So we're far from going out of business because of Amazon, or anything 
else. I'm just saying that Amazon has influenced the whole publishing 
industry, and not always in positive ways.

Fran
Lavolta Press
http://www.lavoltapress.com















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From h-costume-bounces@indra.com  Wed Nov 10 15:24:00 2004
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Subject: [h-cost] wool/1560/tweed???
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Recently I read somewhere that wool tweed is an appropriate fabric for merchant class 1560. Is this correct? My husband enjoys the look of tweed and would love a tweed doublet. I have seen two distinctive types of tweed one that looks mottled and one that's more plaid. Are they both appropriate? Any sources or general info would be helpful if the naysayers say nay to tweed! :-)                                      Truly, 

                                   Angelique 


			
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Subject: [h-cost] Treadle sewing machines
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It took a while to find it, but there is a magic point in the cycle where 
instead of moving to the next stitch, you can "back up" and hit the same 
location again. Thus, with careful treadle control, you can repeatedly tap 
the needle into the same location. Each tap drives the needle a little 
deeper, and eventually it goes all the way through. Then you do the same 
thing with the next stitch.

I broke very few needles on my treadle machine because the power of the 
needle entering the fabric is directly controlled by how fast and with what 
force you move the treadle.

After a while you can develop a 'touch' that exactly fits the fabric being 
sewn. Modern machines just do their thing and the most common feedback that 
I receive is the sound of a needle breaking. That would never happen with 
the treadle machine because my feet would feel the jamming before the 
needle broke.

The more you 'play' with your treadle machine, the more you will love it.

Amazon has a reprint of a Singer book on doing machine embroidery with a 
treadle machine. I figured it out on my own before I knew about the book. 
It isn't difficult, just very precise and slow because you have to 
coordinate the movement of the fabric for every single stitch with the 
movement of the treadle to create the stitch. The combination of accurate 
placement and accurate stitching can produce output that is better than 
what the computerized high-end sewing/embroidering machines produce.

Katie


>Neat that you all like treadles too...I actually named the one I use 
>Willie after the sweet dog that the woman I bought it from had. Glad to 
>hear that others are emotionally attached to them. Liadain, you say that 
>with a treadle you can sew through anything. I'd like to try duck for a 
>corded corset and see if that works. Better have an extra needle or two on 
>hand, would guess.


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To: Historical Costume <h-costume@indra.com>
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I have a treadle - Singer did another run of their early treadle 
machines, and so you could buy a brand new one just a few years ago for 
a couple of hundred.    I was silly and bought one, and there it 
sits.      I keep thinking of trying to sell it, but I was wary of 
EBaying it.

Katie Pleasance wrote:

> I had a treadle machine once and absolutely loved it. I was 
> emotionally attached to it in a way I'll never be attached to my 
> modern power sewing machines. With the treadle machine, I was part of 
> the process, not just somebody pushing fabric under a needle while the 
> machine does it's thing.
>
> Someday I hope to get another treadle machine.
>
> Katie
>
>> Am a fashion lover since I was a bitty kid but didn't start sewing 
>> until I bought two treadle sewing machines this past year. They sew 
>> so easily and nicely that before I knew it, was hooked. It's a really 
>> cool feeling to work on a piece on one of the machines and realize 
>> that it's likely someone else did something quite similar years and 
>> years ago.
>
>
>
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>

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>I had a treadle machine once and absolutely loved it. I was emotionally 
>attached to it in a way I'll never be attached to my modern power sewing 
>machines. With the treadle machine, I was part of the process, not just 
>somebody pushing fabric under a needle while the machine does it's thing.
>
>Someday I hope to get another treadle machine.
>
>Katie
>
>>Am a fashion lover since I was a bitty kid but didn't start sewing until 
>>I bought two treadle sewing machines this past year. They sew so easily 
>>and nicely that before I knew it, was hooked. It's a really cool feeling 
>>to work on a piece on one of the machines and realize that it's likely 
>>someone else did something quite similar years and years ago.

I currently have a treadle machine I plan to use, but I'm somehow hesitant 
to do so, having grown up with powered machines.  It was in classroom use 
till not long before I got it, so it's not like I'll break the 
machinery.  It came with extra needles, so I'm not worried about breaking 
one of those.  And it has several cool attachments I'd like to be using, 
along with the instruction manual to show me how.  But it feels all new and 
different to me, so it has sat unused since I got it.  (The cabinet is just 
the right height to use as a sewing table with my modern electric 
portable.)  Any beginner's advice?

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

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From h-costume-bounces@indra.com  Wed Nov 10 16:16:23 2004
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] tweed & pattern matching
Date: Wed, 10 Nov 2004 15:14:35 -0600
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I'd be truly fascinated to know the answer to this--I'm a tweed naysayer! =} 
But I realize there are some changes that went on in the 16th century that 
are beyond the scope of my research--and new (or old) info that I might have 
missed on earlier periods.

Speaking of which, I know there's a point somewhere in or near the 16th 
century, when the patterns/designs on fabric began to be matched, rather 
than just laying out the garment pieces however they'd fit. Does anyone know 
when that change came about? From looking at paintings, it seems to be in 
the 1520s or 1530s, when a front slit skirt began to get popular. But it 
could be earlier, since some of the bodice sections of dresses in paintings 
have the design centered perfectly across the chest. Has anyone found 
something solid on the date range the change happened?

-E House 

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Subject: Re: [h-cost] Treadle sewing machines
Date: Wed, 10 Nov 2004 14:36:17 -0700
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  Just out of curiosity, why don't you use it?

Liadain

----- Original Message ----- 
From: "Home Ec" <homeec@telenet.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 10, 2004 1:58 PM
Subject: Re: [h-cost] Treadle sewing machines


>I have a treadle - Singer did another run of their early treadle 
> machines, and so you could buy a brand new one just a few years ago for 
> a couple of hundred.    I was silly and bought one, and there it 
> sits.      I keep thinking of trying to sell it, but I was wary of 
> EBaying it.


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From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] Treadle sewing machines
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Do something - anything!

Make sure that it's not an important project. You *will* make a lot of 
errors as you get a feel for the machine -- how much treadle pressure and 
when? How fast and when? Where in the treadle cycle disengages the feed 
dogs while raising the needle so that you can turn the material (that's the 
magic trick to treadle machine embroidery).

Treadle machines take a while to get used to. They are much slower than 
modern machines, but, oh, the control ...

Katie


>I currently have a treadle machine I plan to use, but I'm somehow hesitant 
>to do so, having grown up with powered machines.  It was in classroom use 
>till not long before I got it, so it's not like I'll break the 
>machinery.  It came with extra needles, so I'm not worried about breaking 
>one of those.  And it has several cool attachments I'd like to be using, 
>along with the instruction manual to show me how.  But it feels all new 
>and different to me, so it has sat unused since I got it.  (The cabinet is 
>just the right height to use as a sewing table with my modern electric 
>portable.)  Any beginner's advice?=
>        CarolynKayta Barrows


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Subject: Re: [h-cost] Treadle sewing machines
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  Just start fiddling with it. <G>  Get some fairly sturdy cotton (I say 
this because it's cheap) and make something utilitarian - carry bags, table 
cloths, whatever, that use plain sewing.  Then, when you're a little used to 
just "driving" the treadle, you can start playing with the attachments...
   The hardest part is getting used to how the treadle works the machine - 
"start" and Stop" aren't as instant,
for instance.  But you'll get the feel of it pretty quick, and
you'll never be kept from your sewing by blackouts or high electric bills 
again...<G>

Liadain

----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 10, 2004 2:07 PM
Subject: Re: [h-cost] Treadle sewing machines


>
>>I had a treadle machine once and absolutely loved it. I was emotionally 
>>attached to it in a way I'll never be attached to my modern power sewing 
>>machines. With the treadle machine, I was part of the process, not just 
>>somebody pushing fabric under a needle while the machine does it's thing.
>>
>>Someday I hope to get another treadle machine.
>>
>>Katie


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>  Just start fiddling with it. <G>

I was afraid people would be saying that.  Yeah, I really ought to start 
playing with it.  Trouble is, I always seem to be in the middle of some 
sewing project, on the known machine, which is not the time to start 
experimenting with the unknown machine.  But straight seams ought to be 
good enough practice for such a machine, and my latest costume has a lot of 
straight seams.  The manual even tells me how to wind a bobbin (it takes 
the long skinny ones, and several were included) and how to thread it.  I 
guess inertia is the real problem.

>and
>you'll never be kept from your sewing by blackouts or high electric bills 
>again...<G>

If the blackout comes at my usual sewing time, which is the middle of the 
night, then yes, I will be kept from my sewing.


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

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Subject: Re: [h-cost] period seam finishing
References: <51A3B7155A485548A47D068A9793C4FF059454CF@m-ncid-1.ncid.cdc.gov><1060.24.4.69.40.1100103355.squirrel@24.4.69.40>	<41924332.7090703@lavoltapress.com>	<021701c4c749$698d3b60$0400a8c0@compaqub>
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 > Fran and other published authors, do you make less on a book if we 
order through it Amazon?

I forgot to say this, because I as a business am a publisher rather than 
an author.  Or rather, my husband and I and a number of freelancers 
hired as needed.  This is not really a one-person business.  There are 
huge differences in the style of operation.  We print thousands of 
copies of each book via offset printing, rent warehouse space, own a 
bunch of fancy production equipment, and all that stuff.

However, as to whether _authors_ lose out on discount sales--it depends 
on the royalty basis of the author's contract for that book.  If the 
royalty is based on the cover price, the author does not lose out.  If 
the royalty is based on the price the publisher receives, the author 
does lose out.  Both types of contract are common.

Fran
Lavolta Press
Two new books on 1870s and 1880s clothing!
http://www.lavoltapress.com

>
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Subject: [h-cost] Re: I'm going shopping in Sydney
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ooh, I love places like that! I'll get out my maps and see if I can get there!
I hope to get to New Zealand too, while I'm there. 
thanks everyone for the suggestions!
--
Joyce

> > Soon, I don't know when, but soon, I will be going to Sydney for about
> > 3 months. While there, I would like shop shop shop. So, is there a
> > place in Sydney

No. Get on a plane and fly to Melbourne and find the Job Warehouse at the top
end of Bourke Street, an old business ran by a cantankerous old family that has
not re-arranged its stock in at least 40 years (there is a dusty bold of green
Miller shirt fabric in the window). Imagine the LA garment district shoved into
one old building that has only had one alteration in the last two generations,
a No Smoking sign.

In short, if it is not at the Job Warehouse, it does not exist. You just have
to be willing to barter (argue, actually), seeing they don't even know how much
they paid for the stuff and little interest in serving people who do not know
what they want; and climb over bolts and racks and whatever else has collapsed
in some doorway -- that is if they are in a good mood on the day you visit and
allow you go go back beyond the front room,

-C.
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So it's not properly historical costume, but it's armor inspired by historical armor--that sorta counts, right?
http://www.tellmewhereonearth.com/photostore2/535.jpg

-E House
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From: Frank and Tracy Thallas <hardcorps@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT but cute
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  I like it.  And someone has waaaaaaaay too much time on their hands. <GGGG>

Liadain

-----Original Message-----
From: E House <formfunc@formfunction.org>
Sent: Nov 10, 2004 8:05 PM
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] OT but cute

So it's not properly historical costume, but it's armor inspired by historical armor--that sorta counts, right?
http://www.tellmewhereonearth.com/photostore2/535.jpg

-E House
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Treadle sewing machines
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 Ahhh, sewing by candlelight - how romantic! <GGG>

Liadain


-----Original Message-----
From: Carolyn Kayta Barrows <kayta@frys.com>
Sent: Nov 10, 2004 3:32 PM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Treadle sewing machines

>and
>you'll never be kept from your sewing by blackouts or high electric bills 
>again...<G>

If the blackout comes at my usual sewing time, which is the middle of the 
night, then yes, I will be kept from my sewing.


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

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Date: Wed, 10 Nov 2004 20:00:37 -0800
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] wool/1560/tweed???
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At 12:20 PM 11/10/2004 -0800, you wrote:
>Recently I read somewhere that wool tweed is an appropriate fabric for 
>merchant class 1560. Is this correct? My husband enjoys the look of tweed 
>and would love a tweed doublet. I have seen two distinctive types of tweed 
>one that looks mottled and one that's more plaid. Are they both 
>appropriate? Any sources or general info would be helpful if the naysayers 
>say nay to tweed! :-)                                      Truly,
>
>                                    Angelique


Hi Angelique,

I used to do Scots and we suggested tweed, which if my swiss cheese memory 
is right, was a rewording of twill, which is indeed a period method of 
weaving wool (or any other fabrics). Tartans made into kilts are best when 
made as a tweed/twill. Most re-enactors I knew cannot afford good tweed 
wool, however, so they went for the commonly available tabby woven wools, 
usually in a tartan sett.

Mottled tweed is more appropriate in general for the 16th c., as plaid or 
tartan styles call to mind more "modern" interpretations, and the whole "is 
tartan actually period for the 16th c." thing, not to mention kilts in 
general. You can also get houndstooth check, which is another old and 
simple weaving pattern.

As to specific examples of 16th century weaving, that I will leave to the 
experts. I learned a bit of weaving, and have a loom awaiting me for my own 
handwoven wool fabrics, but I am sure there are questions on anything from 
that time period for wool weaves, especially any surviving fabrics (I don't 
have the book people often cite, about the finds in London. It's on my wish 
list). If anyone wants to correct me with more accurate info, please feel 
free to do so.

I did find a lovely hand woven tweed online that I would someday like to 
enjoy, when I can afford the price.
http://www.theshuttle-uk.com/21002.asp

Actually I would love some Harris tweed someday, which is still hand woven 
(if mechanized in the spinning and dyeing segments)
http://www.harristweed.com/index.asp. Sometimes I really do miss portraying 
a Scot.

As for appropriateness for a merchant, wool in general is very appropriate 
for merchant class, whatever the weaving pattern between plain tabby and 
twill/tweed.

hth,

Kimiko

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] tweed & pattern matching
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At 03:14 PM 11/10/2004 -0600, you wrote:
>I'd be truly fascinated to know the answer to this--I'm a tweed naysayer! 
>=} But I realize there are some changes that went on in the 16th century 
>that are beyond the scope of my research--and new (or old) info that I 
>might have missed on earlier periods.

May I ask why a nay-sayer to tweed?

>Speaking of which, I know there's a point somewhere in or near the 16th 
>century, when the patterns/designs on fabric began to be matched, rather 
>than just laying out the garment pieces however they'd fit. Does anyone 
>know when that change came about? From looking at paintings, it seems to 
>be in the 1520s or 1530s, when a front slit skirt began to get popular. 
>But it could be earlier, since some of the bodice sections of dresses in 
>paintings have the design centered perfectly across the chest. Has anyone 
>found something solid on the date range the change happened?
>
>-E House

Alcega's book doesn't seem to mention it, but I may have over looked 
something. His pattern layouts seem to be, take the end of this uncut 
section and add to that section end, even on the layouts for "silk", which 
he deals with nap issues. He otherwise comments on cutting godets from 
cabbage, and nothing about matching things. Perhaps such issues were taken 
for granted, or considered part of the basic skills of a tailor, and hence 
not mentioned?

My Arnold book has wandered off again to another part of the house... 
otherwise I would look to see what she notes there.

Kimiko


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This is a Calgary (Alberta, Canada) based artist, he also did a suit for a
mouse. :-)
He used to play SCA there. This is the stuff he does for a living, and has
done for quite a few years now.

Here's his site:

http://www.jeffdeboer.com/home.html

Sheridan


>
>   I like it.  And someone has waaaaaaaay too much time on their hands.
<GGGG>
>
> Liadain
>
> -----Original Message-----
> From: E House <formfunc@formfunction.org>
> Sent: Nov 10, 2004 8:05 PM
> To: Historical Costume <h-costume@indra.com>
> Subject: [h-cost] OT but cute
>
> So it's not properly historical costume, but it's armor inspired by
historical armor--that sorta counts, right?
> http://www.tellmewhereonearth.com/photostore2/535.jpg
>
> -E House


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From: Frank and Tracy Thallas <hardcorps@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT but cute
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Status: RO

  Totally too kewl.  Thanks!

Liadain
saving this to show to the Old Man....

-----Original Message-----
From: Shane & Sheridan <shaneandsheridan@sympatico.ca>
Sent: Nov 10, 2004 9:12 PM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT but cute

This is a Calgary (Alberta, Canada) based artist, he also did a suit for a
mouse. :-)
He used to play SCA there. This is the stuff he does for a living, and has
done for quite a few years now.

Here's his site:

http://www.jeffdeboer.com/home.html

Sheridan


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Subject: [h-cost] book selling and Amazon
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Status: RO

Although I know some people come and browse the books I carry at events, write down the ISBNs and then go to Amazon in search of a discount, I still am very appreciative of them.  The data-base of books they have on-line, free for the taking has been so valuable to me that I would pay for it if I had to.  Of course, most of what I carry gets only a small discount on Amazon, sometimes none at all and some things are surcharged books.  Most academic publishers' books are sold by them at the full suggested retail price.  I'm sure I would feel differently if I was trying to compete with Border's, Barnes & Noble and them for the lowest price on Stephen King or Atkins diet books.

As it is, I can go there to look up favorite authors or publishers and have their titles sorted by publication date so I can see what's new.  I can track down a title that I or the customer only vaguely remembers with a couple of key words.  I can check the reviews, especially the ones by customers, if I'm trying to make a discission between a couple different titles.  Sometimes I even buy from their used book dealers, if I see a good out-of-print book at a reasonable price.

By the way, I will be merchanting at the Fiber, Fabric and Fighting (SCA) event in State College, PA the weekend after this and also giving a 2 hour slide presentation of medieval and Renaissance women's clothes in period art.

Janet

Janet Davis
Castle Furnishings
www.medievalbookstore.com


  ----- Original Message ----- 
  From: Lavolta Press 
  To: Historical Costume 
  Sent: Wednesday, November 10, 2004 2:48 PM
  Subject: Re: [h-cost] period seam finishing


  Generally, yes, publishers make less from books sold through Amazon. 

  Amazon discounts are putting many small retailers out of business.  Some 
  people believe this is an intentional strategy, and that once Amazon has 
  reduced the competition enough they will quit giving the book discounts, 
  or at least give fewer and smaller ones. Some people believe Amazon's 
  book "store" is not really doing all that well and their discount 
  strategy is partly fueled by other, more successful "stores."  However, 
  I don't think anyone outside Amazon knows for sure.

  Finally, Amazon discounts are contributing to higher cover prices.

  This gets very complicated but:  The entities a publisher can sell to are:

  Distributors, who sell to wholesalers and retailers, and sometimes libraries
  Wholesalers, who sell to retailers and libraries
  Retailers, who sell to consumers
  Libraries, who sell to no one
  Consumers, who sell to no one

  The higher an entity is in the food chain the bigger discount they need, 
  with discounts to distributors running as high as 80% or so off the list 
  price/cover price, discounts to wholesalers running 55%, discounts to 
  bookstores running 40%, and discounts to consumers usually 0%. 

  Another factor is labor in both marketing and in processing orders.  
  Distributors get a huge discount partly because they supposedly actively 
  market for publishers and take that time and expense off the publisher's 
  hands (but many distributors are not very effective, and some demand to 
  be the publisher's _only_ sales channel).  Otherwise, the publisher must 
  do large retailer mailings several times a year. If they sell to 
  libraries they must contact libraries, if they sell to consumers they 
  must contact (probably thousands) of them.  Although opinions as to 
  marketing email vary widely, the postal service is preferred by many 
  recipients.

  It takes about the same amount of time for the publisher to process and 
  even pack an order for a hundred books as for one book.  Order size also 
  doesn't matter in the monthly reminders sent to slow-paying retailers 
  and wholesalers.   Or in tracking delayed shipments.  Or answering 
  customer questions.  And of course, overhead expenses (warehousing, 
  office equipment, etc.) are not tied to order size.

  Every publisher makes out a discount schedule when they start business, 
  detailing what discounts they will give to which entities for what 
  number of books.  This schedule is based on an estimate of how many 
  books they will sell through each channel. It may be overridden by 
  signed contracts with specific distributors or wholesalers who demand 
  certain terms as standard for _their_ business.  Every publisher's 
  discount schedule is somewhat different (and not all of them work for 
  the publisher).

  Every book has a cover price/list price.  This should be determined 
  before the publisher announces the book.  And, usually, before the 
  publisher is completely sure of the book's manufacturing cost.  
  Nonetheless, the cover price is based on the estimated manufacturing 
  cost.  There are various ways to figure this, but these days the 
  manufacturing costs also usually include all the editing, layout, and 
  other pre-printer work.  Plus, the cover price is based on the 
  publisher's estimate of how many copies will be sold through each 
  channel.  For example, how many at 80% to a distributor, how many at 0% 
  to consumers, and so on.

  The publisher has, legally and in practice, zero control over what a 
  retailer or wholesaler charges for the book. The discount is based on 
  the cover price, but retailers can and do charge less or more than the 
  cover price.

  OK, so let me turn to how customers buy.  A publisher is almost 
  compelled to be carried by a certain huge wholesaler who dominates the 
  book industry--and whose database is distributed to and widely used by 
  almost every bookstore.  If the clerk denies all knowledge of a book you 
  _know_ exists, it's because that one wholesaler does not carry it.  To 
  avoid this publishers will do almost anything to get into that 
  wholesaler--who, BTW, does not accept publishers with fewer than ten 
  books.  That is why many small presses sign up with distributors whose 
  books _are_ listed by the wholesaler.  We do not meet the wholesaler's 
  official requirements, but they have carried us since we had only one 
  book and we have survived several purges of unprofitable and very small 
  publishers.  So I can tell you that wholesaler contractually demands a 
  55% discount and they do not negotiate. 

  Bookstores prefer to order from as few sources as possible because it 
  makes their accounting and order tracking a lot easier.  They 
  particularly like the 800-pound wholesaler mentioned above.  Although 
  they occasionally order direct from publishers, most prefer not to.  
  Other types of retailers, such as reenactment suppliers, are more likely 
  to order direct from a publisher.  Amazon is a retailer, and they too 
  order copiously from the 800-pound wholesaler.

  Consumers used to buy direct from those publishers who would sell to 
  them direct, much more often than they do now.  That is because many go 
  where there is a discount, and they think first of Amazon. 

  So, a great many books that were once sold at no discount to consumers 
  are now sold at 55% to a wholesaler because the purchase is from Amazon, 
  or Barnes & Noble, or a similar online discount store.  To make up for 
  this, publishers are raising their cover prices.

  Our Amazon orders, in fact a very large (and increasing) part of our 
  orders overall, go through the 800-pound wholesaler.  However, Amazon 
  has a program called Amazon Advantage, for buying direct from 
  publishers. We do not participate in it because, for one thing, there is 
  little advantage to us.  For another, we believe it is unfair 
  competition for the small retailers we want to support as fellow 
  businesses. In this program Amazon requires the wholesaler discount of 
  55%, which enables them to give consumers bigger discounts than 
  retailers who get only 40%. The publisher is also allowed to list books 
  with Amazon directly (we can't, Amazon can really screw up database 
  entries, and they ignore all our corrections) and to post back cover 
  copy and quotes from published reviews (we are not allowed to post 
  marketing material).  The big advantage, however, is for publishers who 
  are not carried by the 800-pound wholesaler and for whom Advantage seems 
  the only way to get into Amazon. 

  There _ is _supposed to be a non-Advantage way to list with Amazon 
  directly.  But it is very obscure.  And Amazon penalizes publishers who 
  do that by announcing very long delivery times.  Publishers who fill 
  Amazon orders the day they get them have their books listed as 
  "available in 4-6 weeks."

  Barnes & Noble online has a similar buying program (but we sell to them 
  through the wholesaler).

  Some points: 

  Every book is different, but a reduced price does not necessarily make 
  any significant increase in sales.  As far as I can tell we're selling 
  almost exactly  same number of books to almost exactly the same people; 
  we just sell most at 55% off now.  The math for this is complicated, but 
  you actually have to sell a whole lot more books, not a few more, to 
  make up for any significant price reduction.  It does not work, at least 
  for us, to give everyone a big discount because we can't afford it; we 
  have to stagger our schedule.  Publishers with schedules not based on 
  the entity sold to, base the schedule on quantity, and few consumers 
  want more than one copy of a book.

  The Amazon sales ranking system is so arcane no one seems to understand 
  it, including Amazon employees. But it is clear that its tie to book 
  sales is, well, tenuous.  A publisher of a slow-selling book can move 
  its rank 100,000 points or so by buying a handful of  copies of their 
  own book within an hour or so. I think it's silly, but some publishers 
  do exactly that so they can advertise a better ranking, which they think 
  results in real sales. 

  As for our position on Amazon--we don't object to selling to the 
  800-pound wholesaler. They are quite reasonable to work with.  We do 
  feel Amazon is hard on some of the small retailers we sell to--which 
  also means we don't get orders at 40% off from them, after they go 
  under.  Yes, Amazon is losing us money per book, but we're raising our 
  cover prices as needed to make up for it.  Which is the strategy of most 
  other publishers. 

  We are, BTW, doing extremely well and particularly with _Fashions of the 
  Gilded Age_.  I was afraid a higher cover price and two volumes would 
  discourage sales (and used that format anyway because it was right for 
  the content).  But that has not happened.  This has been our best year 
  so far.  We are actively working on another book, and have three others 
  in the pipeline.  (We don't announce our books before they are 
  available, so all I'll say is we are not dedicated to producing a range 
  of identical books for different eras, nor are we dedicated to any kind 
  of chronological order.)

  So we're far from going out of business because of Amazon, or anything 
  else. I'm just saying that Amazon has influenced the whole publishing 
  industry, and not always in positive ways.

  Fran
  Lavolta Press
  http://www.lavoltapress.com















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Date: Thu, 11 Nov 2004 00:11:12 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] treadling
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>Second, to CarolynKayta, do a Google search for TreadleOn,

Yeah, I really should do that.

>If you need help identifying your machine parts, you can also turn to
>ISMACS.

I've been on that list for a while now, and joined when I got my 
chain-stitch Wilcox and Gibbs "treadle" machine (after-market electrified 
sometime before I was born).

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

              //// \\\
             ////-@@\\\
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Subject: Re: [h-cost] OT but cute
Date: Thu, 11 Nov 2004 06:17:02 -0500
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----- Original Message ----- 
From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 11, 2004 12:12 AM
Subject: Re: [h-cost] OT but cute


> This is a Calgary (Alberta, Canada) based artist, he also did a suit for a
> mouse. :-)
> He used to play SCA there. This is the stuff he does for a living, and has
> done for quite a few years now.
>
> Here's his site:
>
> http://www.jeffdeboer.com/home.html
>
> Sheridan
>

What a wonderful artist. I'm particularly fond of the 16th century Samurai 
Siamese.

Dianne 


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Subject: Re: [h-cost] book selling and Amazon
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JAMES OGILVIE wrote:

> Although I know some people come and browse the books I carry at events,
write down the ISBNs and then go to Amazon in search of a discount

I do this when traveling overseas -- why buy the book in London and haul 
it home, when I can get it later online somehow?  Or maybe I see it and 
am not sure I want to shell out $50 for it right away.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Date: Thu, 11 Nov 2004 07:34:20 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] wool/1560/tweed???
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At 12:20 PM 11/10/2004 -0800, you wrote:

>Recently I read somewhere that wool tweed is an appropriate fabric for 
>merchant class 1560. Is this correct? My husband enjoys the look of tweed 
>and would love a tweed doublet. I have seen two distinctive types of tweed 
>one that looks mottled and one that's more plaid. Are they both 
>appropriate? Any sources or general info would be helpful if the naysayers 
>say nay to tweed! :-)                                      Truly,
>
>                                    Angelique

I'm not certain about what we modernly call "tweed" (the mottled color, 
heathery yarn), but twill weaves are certainly period (in fact, they go 
back at least to the Iron Age textiles from Danish bogs).  The word "tweed" 
is from the same root word as "twill", and may be used interchangably.  So 
any references you may find probably refer to a twill-weave.  I have not 
seen any references to what we call "plaid" (checked-pattern weaves) for 
16th-century English.  If you use a twill-woven wool in a rich solid color, 
you can't go wrong, and it would look wonderful.

Joan Jurancich
joanmj@surewest.net

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Date: Thu, 11 Nov 2004 07:49:23 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Treadle sewing machines
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At 01:37 PM 11/10/2004 -0800, you wrote:
>Do something - anything!
>
>Make sure that it's not an important project. You *will* make a lot of 
>errors as you get a feel for the machine -- how much treadle pressure and 
>when? How fast and when? Where in the treadle cycle disengages the feed 
>dogs while raising the needle so that you can turn the material (that's 
>the magic trick to treadle machine embroidery).
>
>Treadle machines take a while to get used to. They are much slower than 
>modern machines, but, oh, the control ...
>
>Katie
>
>
>>I currently have a treadle machine I plan to use, but I'm somehow 
>>hesitant to do so, having grown up with powered machines.  It was in 
>>classroom use till not long before I got it, so it's not like I'll break 
>>the machinery.  It came with extra needles, so I'm not worried about 
>>breaking one of those.  And it has several cool attachments I'd like to 
>>be using, along with the instruction manual to show me how.  But it feels 
>>all new and different to me, so it has sat unused since I got it.  (The 
>>cabinet is just the right height to use as a sewing table with my modern 
>>electric portable.)  Any beginner's advice?=
>>        CarolynKayta Barrows

I have the advantage that I learned on a White treadle machine (it had been 
my grandmother's, bought new in about 1916; unfortunately my Dad did not 
appreciate that I might want it and got rid of it when he bought my Mom a 
new electric machine while I was away in college).  I have a c. 1904 model 
Singer that I bought used at a yard sale.  It's a wonderful machine.  The 
absolute speed control from a treadle is very useful, especially when doing 
curved seams.  For many years all my machine-sewing was done on that 
Singer.  Give it a try.

Joan Jurancich
joanmj@surewest.net

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From: Chris Laning <claning@igc.org>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] book selling and Amazon
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James Ogilvie wrote:
>Although I know some people come and browse the books I carry at 
>events, write down the ISBNs and then go to Amazon in search of a 
>discount, I still am very appreciative of them.  The data-base of books 
>they have on-line, free for the taking has been so valuable to me that 
>I would pay for it if I had to.  Of course, most of what I carry gets only 
>a small discount on Amazon, sometimes none at all and some things are 
>surcharged books.  Most academic publishers' books are sold by them 
>at the full suggested retail price.  I'm sure I would feel differently if I 
>was trying to compete with Border's, Barnes & Noble and them for the 
>lowest price on Stephen King or Atkins diet books.

I agree 100%. Searching for something on Amazon is a fast way to discover whether something's still in print, for instance -- it's true that if they don't list it, that *doesn't* mean it's OOP, but if they *do* list it, they'll tell you whether it is or not. You can also easily find out publication dates, helpful in judging whether something's recent enough to be useful.

Both the editorial reviews and the customer reviews are immensely helpful. Of course, not everyone who writes a review is an expert, but if you read several reviews you can get a pretty good idea of whether a book's going to be any good. Not *quite* as helpful as actually leafing through the physical book, but if you are lucky and the book is in print, you can do that too if they have sample chapters posted.

I used to avoid their used-book services because they were always priced higher than going through Alibris or other online sellers -- but that's no longer true. Amazon also has other features helpful to customers -- their recommendations feature can be annoying because there's no way to tell it to stop showing you entire categories of books if you bought one, but their wish list is a good way to keep track of books you intend to buy when you get a chance but can't afford right now.

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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> From another list:
>
> Dorothy Burnham, textiles archivist, formerly of the
> Royal Ontario
> Museum,
> author of Cut my Cote and Warp and Weft, passed away
> October 24.
> Today's
> Globe & Mail has a great obituary column feature on
> her life's work.
>
>
http://www.theglobeandmail.com/servlet/ArticleNews/TPStory/LAC/20041108/
> OBBURNHAM08/TPObituaries/?query=Dorothy+Burnham


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] wool/1560/tweed???
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At 07:34 11/11/2004 -0800, you wrote:
>At 12:20 PM 11/10/2004 -0800, you wrote:
>
>>Recently I read somewhere that wool tweed is an appropriate fabric for 
>>merchant class 1560. Is this correct? My husband enjoys the look of tweed 
>>and would love a tweed doublet. I have seen two distinctive types of 
>>tweed one that looks mottled and one that's more plaid. Are they both 
>>appropriate? Any sources or general info would be helpful if the 
>>naysayers say nay to tweed! :-)                                      Truly,
>>
>>                                    Angelique
>
>I'm not certain about what we modernly call "tweed" (the mottled color, 
>heathery yarn), but twill weaves are certainly period (in fact, they go 
>back at least to the Iron Age textiles from Danish bogs).  The word 
>"tweed" is from the same root word as "twill", and may be used 
>interchangably.  So any references you may find probably refer to a 
>twill-weave.  I have not seen any references to what we call "plaid" 
>(checked-pattern weaves) for 16th-century English.  If you use a 
>twill-woven wool in a rich solid color, you can't go wrong, and it would 
>look wonderful.


I have seen check fabric samples from a medieval site, the so called 
"Baynard Castle" site. It was check because it had stripes both vertical 
and horizontal, for want of a better description. However, in no way did it 
resemble a modern plaid or tartan. All the fabrics were finer than modern 
tweed seems to be. That could be because there was not a representative 
sample in the midden, which is where these were found - if used for 
lavatorial purposes, obviously the finer pieces the better!! I have a funny 
feeling that the check on one piece was pink! But don't quote me, as I 
cannot find my notes from that day.

Suzi


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Subject: Re: [h-cost] book selling and Amazon
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Amazon does indeed offer a large selection--though, BTW, not every US 
book in print and readily available.  I've been very enthused about 
their cross-association features that enable me to find books without 
ever running across them in a bookstore or reading any magazine reviews. 
Their customer reviews are a mixed bag but often useful.  Consumers love 
their discounts.  I often buy books there myself.

I'm just saying that in the book industry Amazon is often perceived as 
lowering prices on a relatively temporary basis to put smaller retailers 
out of business, and this is in fact happening to some extent.  They are 
also seen as being in a price war with Barnes & Noble and other online 
stores.  Everything Amazon does is commented on by the publishing 
industry.  However, I do not have any "inside information" on their 
strategies.

Although a few of our long-time retailer customers have either gone out 
of business or quit carrying books in favor of other merchandise, we are 
not all that affected by it. We ourselves are not and never have been a 
retailer.  For years now, most of our books have been sold to 
wholesalers, not consumers, libraries, or retailers.  (Libraries prefer 
to buy through wholesalers, and there are some who cater entirely or 
mostly to libraries.)  We've never had a brick-and-mortar store or sold 
books from a booth at a reenactment, or carried any other publisher's 
books.  And we probably never will do any of those things.  We are 
essentially a manufacturer.  In the strictest technical sense, a "book 
manufacturer" is a firm that does printing and binding, but the point is 
we are a book producer, not in the industry sense a bookseller. 

So, all we really need to do is guess (though this is not easy) on what 
Amazon's long-term strategy really is (the other big online stores will 
probably copy it).  The book industry may go in the direction of the 
software industry, where many list prices are fictional.  Software 
dealers can say they are giving a discount; meanwhile they charge the 
real price of the software and about the same price as other dealers. 
All we'd need to do is raise all our list prices accordingly; and we 
have full control over that.

I'm never thrilled about a few giants controlling an industry. But if 
giants are ever all we have left to sell to, we'll sell to them. 

In short I'm not saying Amazon is a "bad retailer" or that no one should 
buy from them.  I buy books there myself.  I'm just saying they're 
pushing the book industry in certain directions and publishers need 
strategies to deal with that.

Fran
Lavolta Press
http://www.lavoltapress.com

>I agree 100%. Searching for something on Amazon is a fast way to discover whether something's still in print, for instance -- it's true that if they don't list it, that *doesn't* mean it's OOP, but if they *do* list it, they'll tell you whether it is or not. You can also easily find out publication dates, helpful in judging whether something's recent enough to be useful.
>
>Both the editorial reviews and the customer reviews are immensely helpful. Of course, not everyone who writes a review is an expert, but if you read several reviews you can get a pretty good idea of whether a book's going to be any good.
>


>Amazon also has other features helpful to customers -- their recommendations feature can be annoying because there's no way to tell it to stop showing you entire categories of books if you bought one, but their wish list is a good way to keep track of books you intend to buy when you get a chance but can't afford right now.
>
>____________________________________________________________
>0  Chris Laning
>|  <claning@igc.org>
>+  Davis, California
>____________________________________________________________
>_______________________________________________
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>
>  
>
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From: julian wilson <smnco37@yahoo.co.uk>
Subject: [h-cost] book selling  by Amazon and Barnes & Noble
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Dear List,
these comments from Fran must touch a sore point with those living-history Bookbuyers on this and other Lists who live "the other side of the Pond"!  In the UK. Like me, for example!
 
I wonder how many Listers are even aware of the following.............
For Books published in the USA, many  - in fact most - UK retail Booksellers routinely charge the same prices in numerals that you pay in the USA, - with only the Currency Sign changed. 
This means that what you pay -  say -  US$15.95  for in the States, is offered to UK consumers at UK£15.95 [US$28.71 at the present Rate -of-Exchange!]; - when, by rights, the book should be offered to UK Readers at UK£8.90 approx [at the current Rate of Exchange] with a small "mark-up" to cover trans-Atllantic Shipping Costs, + O&P.
 
Now, if the US Publishers are making a "fair-&-reasonable-Profit" at that retail-market-price of .US$15.95 from their own "home-Country Buying-Public; - who is creaming-off all that extra profit when the same book is sold to UK Readers at UK£15.95?  I wouldn't mind betting that the US Publishers are not seeing any of that additional profit paid "over-the-counter" in the UK!
OK, realistically, one expects a certain "mark-up" to cover Shipping, and Middlemens' profits, - but not as much as this!
This cynical & profiteering system of "hidden overcharging" - now only slowly becoming public knowldeg amongst computer-literate Uk Bookbuyers, - has three immediate results.
1] UK Bookbuyers are being "ripped-off" when buying in the UK books published in the USA.
2] US Publishers are losing sales in the UK - because a certain proportion of potential UK Buyers will be looking at the high UK prices, and decide NOT TO BUY.
3] In relation to those of us who are UK re-enactors, and who would like to build-up our own personal Reference Libraries,  - this "overcharging" practice  has the further effect of limiting the numbers of Reference Books we can afford to purchase from our limited "disposable incomes".
IMHO, this is a scandal - and it needs to be stopped.
Julian Wilson,
Re-enactor [aka "Governor Matthieu Besquer" of jersey, 1486-1497];
Historian and Master Artisan to
The Companie of The Duyke's Leopards.
in "olde" Jersey, 15 miles off the French Coast.
 


Lavolta Press <fran@lavoltapress.com> wrote:
Amazon does indeed offer a large selection--though, BTW, not every US book in print and readily available. I've been very enthused about their cross-association features that enable me to find books without ever running across them in a bookstore or reading any magazine reviews. 
Their customer reviews are a mixed bag but often useful. Consumers love their discounts. I often buy books there myself.

I'm just saying that in the book industry Amazon is often perceived as lowering prices on a relatively temporary basis to put smaller retailers out of business, and this is in fact happening to some extent. They are also seen as being in a price war with Barnes & Noble and other online stores. Everything Amazon does is commented on by the publishing 
industry. However, I do not have any "inside information" on their strategies.

Although a few of our long-time retailer customers have either gone out of business or quit carrying books in favor of other merchandise, we are not all that affected by it. We ourselves are not and never have been a retailer. For years now, most of our books have been sold to wholesalers, not consumers, libraries, or retailers. (Libraries prefer to buy through wholesalers, and there are some who cater entirely or 
mostly to libraries.) We've never had a brick-and-mortar store or sold books from a booth at a reenactment, or carried any other publisher's books. And we probably never will do any of those things. We are essentially a manufacturer. In the strictest technical sense, a "book manufacturer" is a firm that does printing and binding, but the point is we are a book producer, not in the industry sense a bookseller. 

So, all we really need to do is guess (though this is not easy) on what Amazon's long-term strategy really is (the other big online stores will probably copy it). The book industry may go in the direction of the software industry, where many list prices are fictional. Software dealers can say they are giving a discount; meanwhile they charge the real price of the software and about the same price as other dealers. 
All we'd need to do is raise all our list prices accordingly; and we have full control over that.

I'm never thrilled about a few giants controlling an industry. But if giants are ever all we have left to sell to, we'll sell to them. 

In short I'm not saying Amazon is a "bad retailer" or that no one should buy from them. I buy books there myself. I'm just saying they're pushing the book industry in certain directions and publishers need strategies to deal with that.

Fran
Lavolta Press
http://www.lavoltapress.com
		
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Lavolta Press wrote:

>
>> these comments from Fran must touch a sore point with those 
>> living-history Bookbuyers on this and other Lists who live "the other 
>> side of the Pond"!  In the UK. Like me, for example!
>
>
> I buy a lot of foreign books myself, particularly from the UK.
>
>>  
>>
>> This means that what you pay -  say -  US$15.95  for in the States, 
>> is offered to UK consumers at UK£15.95 [US$28.71 at the present Rate 
>> -of-Exchange!]; - when, by rights, the book should be offered to UK 
>> Readers at UK£8.90 approx [at the current Rate of Exchange] with a 
>> /small "/mark-up" to cover trans-Atllantic Shipping Costs, + O&P.
>
>
> The publisher has zero control over a retailer's markup, whether the 
> retailer prices the book at less or more than the publisher's cover 
> price/list price.  The publisher makes zero extra profit if the 
> retailer charges more.  The publisher makes no less profit if the 
> retailer charges less.
> The difference to the publisher is when the publisher's sales channel 
> changes--if the retailer buys from a wholesaler instead of the 
> publisher, or consumers buy from the retailer instead of the 
> publisher.  Different discounts off the cover price are given to 
> different types of customers. However, this has nothing to do with the 
> price the retailer charges.
>
>
>>  
>> Now, if the US Publishers are making a "fair-&-reasonable-Profit" at 
>> that retail-market-price of .US$15.95 from their own "home-Country 
>> Buying-Public; - who is creaming-off all that extra profit when the 
>> same book is sold to UK Readers at UK£15.95? 
>
>
> The UK retailer.
>
>> OK, realistically, one expects a certain "mark-up" to cover Shipping, 
>> and Middlemens' profits, - but not as much as this!
>
>
> Overseas shipping is genuinely quite expensive, especially if the 
> book(s) cannot be shipped at a very slow rate. It is also more work to 
> order and fill orders--more questions as to shipping and payment 
> options and so on.
>
>> This cynical & profiteering system of "hidden overcharging" - now 
>> only slowly becoming public knowldeg amongst computer-literate Uk 
>> Bookbuyers,
>
>
> I see this in a much more benign light.  Book retailing is actually a 
> low margin business.  And independent booksellers, as opposed to the 
> big chains, are often in it because they love books--but they have to 
> make a living too.
>
>> 1] UK Bookbuyers are being "ripped-off" when buying in the UK books 
>> published in the USA.
>
>
> No one is ripping you off just because they charge more than you can 
> afford, or more than you think the merchandise is worth. They probably 
> have expenses you know nothing about. And it's perfectly fair for them 
> to make a profit over expenses.  That's what they need to do to stay  
> in business.
> No one is forcing you to buy their merchandise.  You can buy it 
> elsewhere or choose not to buy it at all. If you do buy it, it is your 
> own free choice--not a rip-off.
>
> If their prices are too high, they are the ones that will either 
> adjust the prices or go out of business.  However, they have their own 
> sales figures and you don't. If they are still making a profit your 
> custom and that of a few others may not matter.  Sales are in the 
> aggregate, and one or two here and there are not crucial.
>
>
>> 2] US Publishers are losing sales in the UK - because a certain 
>> proportion of potential UK Buyers will be looking at the high UK 
>> prices, and decide NOT TO BUY.
>
>
> No matter how high the price is some people will buy.
> There is a publishing pricing strategy--used often for academic, 
> medical, and law books, for example--that says, "OK, we've got an 
> inherently limited market for this book and will sell few copies.   
> Manufacturing a small run is quite expensive, so we'll have to assign 
> a high cover price.  But the few people who will want this book 
> _really_ want or need it, so most will pay that price.  And if we ever 
> reduced the price to $1.99 and put the book on every remainder table 
> in the country, hardly any additional people would buy it, because 
> we've just got a specialty market here."
>
> We are thinking of moving more in that direction.  We have discovered 
> that people with a simple question or two, or who want everything 
> free, won't buy our books at any price.  But people who are seriously 
> interested in costuming, whether professional or amateur, are quite 
> willing to pay.  Our big question now is whether we should raise the 
> backlist book prices--a real nuisance, considering how many databases 
> they are in by now.
>
>
>> 3] In relation to those of us who are UK re-enactors, and who would 
>> like to build-up our own personal Reference Libraries,  - this 
>> "overcharging" practice  has the further effect of limiting the 
>> numbers of Reference Books we can afford to purchase from our limited 
>> "disposable incomes".
>> IMHO, this is a scandal - and it needs to be stopped.
>> *
>> *
>
>
> I'm sorry, but for everyone there are things they can't afford.  I'd 
> bet the person who owns a luxury yacht regrets they can't afford two.  
> But nobody owes you cheap books or cheap anything else--you have no 
> inherent right here.
>
> It's not a scandal, it's capitalism.  It's how businesses work to stay 
> in business, to expand, to succeed.  There's really nothing you can do 
> to change how capitalism works, outside of political measures.
>
> Fran Grimble
> Lavolta Press
> http://www.lavoltapress.com
>
>
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julian wilson wrote:


> I wonder how many Listers are even aware of the following.............
> For Books published in the USA, many  - in fact most - UK retail Booksellers routinely charge the same prices in numerals that you pay in the USA, - with only the Currency Sign changed. 
> This means that what you pay -  say -  US$15.95  for in the States, is offered to UK consumers at UK£15.95 [US$28.71 at the present Rate -of-Exchange!]; - when, by rights, the book should be offered to UK Readers at UK£8.90 approx [at the current Rate of Exchange] with a small "mark-up" to cover trans-Atllantic Shipping Costs, + O&P.
>  

It's not just books and it's not just the UK. I see similar 'markups' 
made on products in other hobbies which are sent to or bought from 
Canada, and I've seen UK vendors do it to American buyers as well. A 
typical complaint mirrors yours. "Why am I paying significantly more 
than the exchange rate?"

My personal theory is that 1) there is more involved in the cost of 
doing business with a foreign partner, and 2) vendors charge what the 
market will bear.



Dawn


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     I've noticed in general a higher cost-of-living in the UK vs US. 
Salaries seem to be lower for similar work, and prices higher. 
Meanwhile, a meal in a restaurant that would cost $20 in the US will
cost £20.00.

     And the fact is, shipping is not cheap and books are heavy.  Customs
& import duties are added.

     One approach is to find a friend in the other country with similar
interests, where you can by books for each other and send them (or
bring them over) as gifts.

     -Carol

julian wilson wrote:
> This means that what you pay -  say -  US$15.95  for in the States, is
> offered to UK consumers at UK£15.95 [US$28.71 at the present Rate
> -of-Exchange!]; - when, by rights, the book should be offered to UK
> Readers at UK£8.90 approx [at the current Rate of Exchange] with a small
> "mark-up" to cover trans-Atllantic Shipping Costs, + O&P.

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Subject: [h-cost] two 19th century underwear questions
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Two rather unrelated questions, actually.

First.  What sort of shift is correct to wear under a 1817ish ballgown?  I know they are generally square-necked with short sleeves, but the sleeves of the ballgown bodice begin at the very outer tips of the shoulders.  Should the chemise also have such a broad neckline?  Should it simply be adjustable with a drawstring?  Also, is this date too early for it to have a front flap?

Second.  Approximately how large would be appropriate for a 1865 elliptical hoopskirt for someone 5' 9" tall portraying a wealthy fashionable 21-year-old New Yorker?  Height, class, and location suggest something on the larger side.  Would it be fair in this case to base the hoop size on the skirts seen in contemporary fashion prints?  

Thank you for any suggestions.  I really did look through dozens of books and websites before asking you this so please don't feel I am using you as a shortcut.
Alexia
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] two 19th century underwear questions
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>Second.  Approximately how large would be appropriate for a 1865 
>elliptical hoopskirt for someone 5' 9" tall portraying a wealthy 
>fashionable 21-year-old New Yorker?  Height, class, and location suggest 
>something on the larger side.  Would it be fair in this case to base the 
>hoop size on the skirts seen in contemporary fashion prints?

Fashion prints always show skirts larger than photos from the same year 
do.  Look for photos of fashionable New York women of this general time, 
and size your hoops in proportion to theirs.


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

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The photos at the LOC website should be a great help with c1865 photos--try:
http://lcweb2.loc.gov/ammem/browse/

I noticed these collections quickly:
http://memory.loc.gov/ammem/awhhtml/index.html (American women images)
http://lcweb2.loc.gov/ammem/ndlpcoop/nhihtml/cwnyhshome.html (NY Civil War 
images)
has at least a handful of images of women.

-E House 

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Subject: [h-cost] I love Amazon because...
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I remember when it was impossible, or nearly so, for anyone living outside a
major metropolitan area or in a non-English speaking country to get much
beyond the best sellers and paperbacks.  Even when Waldon Books and their
ilk began to pop up it was hard.

If you discovered Books In Print and all the wonderful books that your local
library didn't have, you still were almost stopped from buying because, as
Fran has said, publishers didn't want to sell in single volumes because they
were as expensive to process as big orders.

I remember how excited I was, when living in Germany, to find a company that
would try and get you any book in print for only $1.00 plush shipping over
the cover price.  Spent some money like that, but nothing like the amount
that I do through Amazon right now.

I remember my first Pennsics (X-XX) and going nuts at the few booksellers
there because the volumes, new and old were simply unobtainable anywhere
else.

I suspect there are many more titles available on SCA interests because
publishers have found a place to sell, and buyers are able to take advantage
of the variety.  Fran can sell her books because people can find them there
without having to know about some of the SCA specialty booksellers.

I buy from local booksellers when I see a volume that I want at a price I
can afford, even if it is a bit more expensive because I don't have to pay
shipping.

Love the sites like bookfinder.com, abebooks, etc.  I frequently get books
at far below their cover or Amazon price if they have been out very long.

All these are things that were unimaginable only 20 years ago.

Wanda

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Cynthia Virtue
> Sent: Thursday, November 11, 2004 3:33 AM
> To: Historical Costume
> Subject: Re: [h-cost] book selling and Amazon
>
>
> JAMES OGILVIE wrote:
>
> > Although I know some people come and browse the books I carry at events,
> write down the ISBNs and then go to Amazon in search of a discount
>
> I do this when traveling overseas -- why buy the book in London and haul
> it home, when I can get it later online somehow?  Or maybe I see it and
> am not sure I want to shell out $50 for it right away.
>
> --
>

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Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
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> No matter how high the price is some people will buy.
> There is a publishing pricing strategy--used often for academic, 
> medical, and law books, for example--that says, "OK, we've got an 
> inherently limited market for this book and will sell few copies.   
> Manufacturing a small run is quite expensive, so we'll have to assign 
> a high cover price.  But the few people who will want this book 
> _really_ want or need it, so most will pay that price.  And if we ever 
> reduced the price to $1.99 and put the book on every remainder table 
> in the country, hardly any additional people would buy it, because 
> we've just got a specialty market here."


Actually, this reasoning is not all that great, although perhaps the problem lies in the inability of academic publishers to realize what books have a greater market than they realize.  There are probably hundreds of titles that I would sell more of if they were more reasonably priced.  A number of books I don't carry at all.  Eventually some of them do show up at the remainder wholesaler and I will bet my $1.99 on how many people will want it.  Occasionally, I will get stuck with something so esoteric that I end up having to give it away but other times they will go like the proverbial hotcakes.  

To bring this back to costume content, several years back, when I saw her at Kalamazoo Medieval Conference, Gale Owen-Crocker was planning on having her updated edition of Dress in Anglo-Saxon England published by scholastically prestigious academic press that usually does a print run of 200 or 300 copies and prices the books at over $100 for a plain hardback with no color pictures.  I was enormously relieved to hear she ended up at Brewer & Boydell, who have some kind of clue.  Their price of $50 is still not cheap, but it is not outrageous for 400 pages with a few color plates and 140 drawings.  Now if they'd only get the damn thing printed!  (Publication was scheduled for October but it still hasn't been released.)

Janet 

Janet Davis
Castle Furnishings
www.medievalbookstore.com
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From: Robin Netherton <robin@shell.nightowl.net>
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On Thu, 11 Nov 2004, JAMES OGILVIE wrote:

> To bring this back to costume content, several years back, when I saw
> her at Kalamazoo Medieval Conference, Gale Owen-Crocker was planning
> on having her updated edition of Dress in Anglo-Saxon England
> published by scholastically prestigious academic press that usually
> does a print run of 200 or 300 copies and prices the books at over
> $100 for a plain hardback with no color pictures.  I was enormously
> relieved to hear she ended up at Brewer & Boydell, who have some kind
> of clue.  Their price of $50 is still not cheap, but it is not
> outrageous for 400 pages with a few color plates and 140 drawings.

Boydell & Brewer has recognized the enormous size of the re-enactor and
hobbyist market in medieval studies. They're the press that took over the
MoL finds books, "Fashion in the Age of the Black Prince," and other
similar material culture books -- and they're producing them in numbers
and at prices that will tap the non-academic market. They also are the
publisher of the new Medieval Clothing & Textiles journal, which they
asked Gale and me to edit. (First issue due out in spring.) Gale is as
thrilled to be with B&B for the reprint of "Dress in Anglo-Saxon England"
as they are to have her, I think.

> Now if they'd only get the damn thing printed!  (Publication was
> scheduled for October but it still hasn't been released.)

Gale showed me some proofs months ago. It needed a lot of typo fixes at
that stage, which probably is what held it up. I'll let you know when I
hear more.

--Robin

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] book selling  by Amazon and Barnes & Noble
Date: Thu, 11 Nov 2004 13:28:36 -0800
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Julian,

	From your posts I would be the first to find it a shame if you couldn't buy
the books you need to keep us informed.  I'm puzzled though.  I buy books
from Amazon.uk.com all the time.  Frequently the same title is available
from them Cheaper (!) than from Amazon.com even including shipping.  I
bought the Cambridge History of Food, an enormous two volume set, for nearly
$25 less. I've bought all the Harry Potter books from them so I could check
on differences in wording, i.e. bangs in the US for fringe in England.  They
have gotten here to Oregon (left coast US) in only about a week.
	When I was in Germany I was horrified to learn that customs charges are put
on books coming into the country.  I was always careful to have UK sellers
send books I ordered to friends on US bases there so they could be shipped
via the military's post office (still charged the US postal rate) so I
didn't have to pay customs to bring in books.
	Does England have a customs duty on books?

Regina Romsey
>
> Dear List,
> these comments from Fran must touch a sore point with those
> living-history Bookbuyers on this and other Lists who live "the
> other side of the Pond"!  In the UK. Like me, for example!
>
> I wonder how many Listers are even aware of the following.............
> For Books published in the USA, many  - in fact most - UK retail
> Booksellers routinely charge the same prices in numerals that you
> pay in the USA, - with only the Currency Sign changed.
> This means that what you pay -  say -  US$15.95  for in the
> States, is offered to UK consumers at UK£15.95 [US$28.71 at the
> present Rate -of-Exchange!]; - when, by rights, the book should
> be offered to UK Readers at UK£8.90 approx [at the current Rate
> of Exchange] with a small "mark-up" to cover trans-Atllantic
> Shipping Costs, + O&P.
<Snip>

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
References: <20041111175840.74887.qmail@web25706.mail.ukl.yahoo.com><4193B1FB.6040804@lavoltapress.com>	<4193B274.9000403@lavoltapress.com>
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>Actually, this reasoning is not all that great, although perhaps the problem lies in the inability of academic publishers to realize what books have a greater market than they realize.
>
Every publisher I know, including academic ones, is eager to find every 
market conceivable.  However, sometimes they have to choose between the 
academic market and a less profitable more mainstream market.  In other 
words, sometimes a greater profit can be made by concentrating on one 
market, and be willing to lose many or most members of another market.

>  There are probably hundreds of titles that I would sell more of if they were more reasonably priced. 
>
But, from the publisher's point of view, sell to how many people?  It 
could well take thousands of additional sales to make up for any 
significant reduction in cover price. 

Even in the SCA, not every member is interested in every specialist 
topic.  Some people are primarily interested in costume, some in 
cooking, some in music, etc. And with an in-depth or advanced book, some 
people are just not interested in the topic at that level.  There is 
always a bigger beginner market.  Norris's  books appeal to 
significantly more people than _Fashions in the Age of the Black 
Prince._   And a very serious costumer for the Elizabethan era may not 
be interested in the _Black Prince_ book either.  This is not a value 
judgment on any of the books; but they are for different markets even 
within the reenactment community.

I'm not saying one person may not buy many different types of books. I 
do myself.  But many people have a narrow range of interest and don't 
want to buy anything outside it.

And although the reenactment market is now recognized as _being_ a 
market--and it wasn't when I published my first book--it's not, and 
never will be, anywhere near the size of the market for a truly popular 
book.  Such as a book on job hunting or the latest bestselling novel.

> A number of books I don't carry at all.  Eventually some of them do show up at the remainder wholesaler and I will bet my $1.99 on how many people will want it.  Occasionally, I will get stuck with something so esoteric that I end up having to give it away but other times they will go like the proverbial hotcakes.  
>  
>
That doesn't mean the publisher can afford to publish the books with a  
$1.99 cover price.  The costs of editing, illustrations (creation or 
permissions to use), proofreading, indexing, translation (sometimes), 
cover design, book design, page layout, proofs, printing, binding, 
shipping, warehousing, office rent, employee salaries or freelancer 
payments, computer equipment, and yet more expenses are all very real.  
So are the tens of thousands of dollars that go to the printer.  So are 
publicity and marketing costs.  So is the 80% discount the publisher may 
have to give a distributor to (ultimately) get into bookstores, or the 
55% discount the publisher otherwise probably has to give the 800-pound 
wholesaler who dominates the industry. 

There are also two very different publishing strategies.  The 
large-sized, and often the medium-sized, press strategy is to give most 
books only a year or two in print.  To save marketing costs, a handful 
of books are targeted as the publisher's bestsellers for that season and 
marketed more heavily than the others.  Not surprisingly, they tend to 
sell better.  The other books are given a small catalog entry and left 
to sink or swim.  They are more or less expected to just break even. The 
targeted bestsellers are expected to "carry" them and provide the 
profit.  Large publishers publish hundreds of books per year.  When the 
book has had its year or two and broken even, or looks like a total flop 
that never will, and there are copies left, the publisher may clear them 
out of the warehouse, sell them to a remainder dealer, and use the space 
for  new books.  (If the book has instead been a major sucess, the 
publisher will reprint it.)

The other type of book that gets remaindered is the time-sensitive 
book.  Technical and legal books that get too outdated for use, 
celebrity bios after everyone gets bored with the celebrity.  Defective 
books sometimes get remaindered, but often they are pulped. 

The small press strategy is usually never to remainder anything, as long 
as the press is in business. Small presses publish small numbers of 
books, don't need to push books out of the warehouse to make room, and 
market all their titles pretty evenly.  They often publish  
"evergreens," that is books that don't quickly become outdated.

>Gale Owen-Crocker was planning on having her updated edition of Dress in Anglo-Saxon England published by scholastically prestigious academic press that usually does a print run of 200 or 300 copies and prices the books at over $100 for a plain hardback with no color pictures.
>
A print run of 200 or 300 copies is  really expensive to produce.  All 
the pre-printing costs are as high as if you published 20,000 copies, 
and the print run itself is very expensive per copy.   Most offset 
printers would refuse the job.

>  I was enormously relieved to hear she ended up at Brewer & Boydell, who have some kind of clue.  Their price of $50 is still not cheap, but it is not outrageous for 400 pages with a few color plates and 140 drawings.  Now if they'd only get the damn thing printed!  
>  
>

It's a very reasonable cover price for a rather long and high-quality 
book.   But it's a specialty book that will never be popular in the 
mainstream market.

Fran
Lavolta Press
http://www.lavoltapress.com
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To: Historical Costume <h-costume@indra.com>
From: Katie Pleasance <Katie@katiesorchids.com>
Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
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I frequently buy books for more than $100US. These are typically highly 
specialized, *very*-limited-market books. How many people do you know that 
are interested in Oxford University books on sheep genetics and on sheep 
lambing prolificacy? Together, those two books cost me more than $300US. Am 
I angry at Oxford University for charging so much? No way! There are so few 
people in the world who are interested in those topics at that academic 
level that I bet the publication costs are subsidized even at that cover 
price.

Katie

At 01:33 PM 11/11/2004 -0800, you wrote:

>>Actually, this reasoning is not all that great, although perhaps the 
>>problem lies in the inability of academic publishers to realize what 
>>books have a greater market than they realize.
>Every publisher I know, including academic ones, is eager to find every 
>market conceivable.  However, sometimes they have to choose between the 
>academic market and a less profitable more mainstream market.  In other 
>words, sometimes a greater profit can be made by concentrating on one 
>market, and be willing to lose many or most members of another market.


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Subject: Re: [h-cost] OT book selling  by Amazon and Barnes & Noble
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It's not just books and it's not just the UK. I see similar 'markups'
made on products in other hobbies which are sent to or bought from
Canada, and I've seen UK vendors do it to American buyers as well. A
typical complaint mirrors yours. "Why am I paying significantly more
than the exchange rate?"

My personal theory is that 1) there is more involved in the cost of
doing business with a foreign partner, and 2) vendors charge what the
market will bear.

Dawn


I find that shipping charges from book sellers such as a Amazon.com or
Alibris are often $9.00 us for one book to Canada.  If I contact the used
book seller directly I can often get this reduced to $5 or $6 us.

 I find books are often more expensive on Amazon.ca than Amazon.com and can
save money buying from the USA.   These books are all shipped from their
Canadian warehouse so I still don't pay duty but I still pay the expensive
shipping.    I looked up a book the other day and the difference was over
$20.00 Canadian why???

I never use UPS as their charges for just clearing the parcel are terrible
$20 to $30 just for looking at the parcel.  The Canada Post only charges me
$5 to clear parcels and then only if duty is owing.

I often buy books from Canadian Clearance Houses and use Amazon to check
content, reviews, and comparing prices.

Brin Kendall


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Subject: Re: [h-cost] OT book selling  by Amazon and Barnes & Noble
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>
>I find that shipping charges from book sellers such as a Amazon.com or
>Alibris are often $9.00 us for one book to Canada.  If I contact the used
>book seller directly I can often get this reduced to $5 or $6 us.
>  
>
Amazon at least used to dictate what their Marketplace sellers charged 
for shipping.  Their charges were based on an "average" weight book. 
Obviously the specific book may weigh less or more. 

I think Alibris shipping is flat per book too but would have to check.

Fran
Lavolta Press
http://www.lavoltapress.com
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Not many, I'd guess.  Although--for academic books university libraries 
can be a very important market.  I'm not saying libraries are entirely 
price insensitive.  But they do not view purchases the same way a 
consumer does.

Fran
Lavolta Press
http://www.lavoltapress.com

Katie Pleasance wrote:

> I frequently buy books for more than $100US. These are typically 
> highly specialized, *very*-limited-market books. How many people do 
> you know that are interested in Oxford University books on sheep 
> genetics and on sheep lambing prolificacy?

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
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On Thursday 11 November 2004 3:53 pm, Robin Netherton wrote:
[snip]
> > Now if they'd only get the damn thing printed!  (Publication was
> > scheduled for October but it still hasn't been released.)
>
> Gale showed me some proofs months ago. It needed a lot of typo fixes at
> that stage, which probably is what held it up. I'll let you know when I
> hear more.

Boydell & Brewer's web site now claims it's coming out November 30,   but of 
course that may at best be over optimistic.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: [h-cost] More 1661 costume notes: laces
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Monday 11 November 1661

http://www.pepysdiary.com/archive/1661/11/11/index.php

[...]Thence to the Wardrobe to dinner, and there by appointment met my 
wife, who had by my direction brought some laces for my Lady to choose 
one for her. And after dinner I went away, and left my wife and ladies 
together, and all their work was about this lace of hers.

[...] So to the Wardrobe, where I found my Lady had agreed upon a lace 
for my wife of 6/. [I don't know what symbol '/.' is failing to 
represent], which I seemed much glad of that it was no more, though in 
my mind I think it too much, and I pray God keep me so to order myself 
and my wife’s expenses that no inconvenience in purse or honour follow 
this my prodigality. So by coach home.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT book selling  by Amazon and Barnes & Noble
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On Thursday 11 November 2004 2:09 pm, aquazoo@patriot.net wrote:
>      I've noticed in general a higher cost-of-living in the UK vs US.
> Salaries seem to be lower for similar work, and prices higher.
> Meanwhile, a meal in a restaurant that would cost $20 in the US will
> cost £20.00.

I can't speak for salaries, since I've never lived in the UK, but your 
observation about the relative prices of restaurant meals in the US vs. the 
UK was just as true when I first visited the UK in 1990.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wool/1560/tweed???
Date: Thu, 11 Nov 2004 22:24:35 -0500
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On Thursday 11 November 2004 10:34 am, Joan Jurancich wrote:
[snip]
> I'm not certain about what we modernly call "tweed" (the mottled color,
> heathery yarn), but twill weaves are certainly period (in fact, they go
> back at least to the Iron Age textiles from Danish bogs).  

Yup.  The scary part is that some of the patterns can still be found in Harris 
Tweeds of similar weave.  I have a Harris Tweed jacket (sadly frayed at the 
edges alas) that is a houndstooth check amazingly reminiscent of  Fig. 76 in 
Ancient Danish Textiles from Bogs and Burials, except that the contrast 
effect supposedly was achieved in the bog find with yarn of a different 
twist, instead of with dye.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
Date: Thu, 11 Nov 2004 22:37:22 -0500
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On Thursday 11 November 2004 3:53 pm, Robin Netherton wrote:
[snip]
> Boydell & Brewer has recognized the enormous size of the re-enactor and
> hobbyist market in medieval studies. They're the press that took over the
> MoL finds books, "Fashion in the Age of the Black Prince," and other
> similar material culture books -- and they're producing them in numbers
> and at prices that will tap the non-academic market. They also are the
> publisher of the new Medieval Clothing & Textiles journal, which they
> asked Gale and me to edit. (First issue due out in spring.) Gale is as
> thrilled to be with B&B for the reprint of "Dress in Anglo-Saxon England"
> as they are to have her, I think.

I am happy they have her, too.  Having finally obtained and read the first 
edition of "Dress in Anglo-Saxon England", and having learned from B&B's 
website what some of the new content of the second ed. will be, I am lusting 
eagerly to get the book.

I am also eager to see the Medieval Clothing & Textiles journal.  I put a lot 
of stock in your judgment and your scholarship, Robin, so I feel  sure it 
will be excellent.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] book selling and Amazon
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On Thursday 11 November 2004 10:53 am, Chris Laning wrote:
> James Ogilvie wrote:
> >Although I know some people come and browse the books I carry at
> >events, write down the ISBNs and then go to Amazon in search of a
> >discount, I still am very appreciative of them.  

Frankly, I'm not impressed with Amazon's discounts.  I've often done better at 
b&n.com or on EBay.   half.com and even walmart.com (yes, the website of the 
infamous Walmart chain--you'd be surprised what costume books they carry) 
have shown much better prices than Amazon on books in which I'm interested.


> >The data-base of books 
> >they have on-line, free for the taking has been so valuable to me that
> >I would pay for it if I had to. 

Amazon provides two services I like and use.  One is their system of customer 
reviews, as you mention below (in the parts snipped).   I've often found 
their reviews helpful and have from time to time contributed to the review 
database myself.  The other is their "Wish List" feature, which I use when 
giving relatives hints about what to get me for holiday presents.

[snip]

> Both the editorial reviews and the customer reviews are immensely helpful.
> Of course, not everyone who writes a review is an expert, but if you read
> several reviews you can get a pretty good idea of whether a book's going to
> be any good. 

That's true.  More importantly, you can usually find a review that's says 
enough about the book that you can figure out *how* and *why* it's likely to 
be bad or good from your perspective.


> Not *quite* as helpful as actually leafing through the 
> physical book, but if you are lucky and the book is in print, you can do
> that too if they have sample chapters posted.

I agree. 


> I used to avoid their used-book services because they were always priced
> higher than going through Alibris or other online sellers -- but that's no
> longer true. 

I still avoid Amazon's used book services, but not because of price.  I avoid 
them because I've yet to succeed at actually getting a used book through 
them. 

In the beginning, I would put in requests for them to search for used books 
for me, and wait and wait and wait, until I realized that the fact that those 
books were on Amazon's list meant, "If we ever see a copy, we'll send it to 
you."  

I hoped to do much better once Amazon started an actual network for selling 
used copies of books (i.e., the "x number of Used copies available from 
$x.00").  So I purchased one, only to discover when the seller contacted me 
that the book he actually had to sell was a totally different book by the 
same author as the book I wanted; Amazon had an error in its listing that had 
not gotten corrected, as a previous poster has noted.

As I've said, I'm sure many people do fine with Amazon, but I have had bad 
luck with buying used books from them, and see no reason to try to do so when 
I can get such books elsewhere.

> Amazon also has other features helpful to customers -- their 
> recommendations feature can be annoying because there's no way to tell it
> to stop showing you entire categories of books if you bought one, but their
> wish list is a good way to keep track of books you intend to buy when you
> get a chance but can't afford right now.

And sometimes they recommend a book I would want and might not otherwise have 
heard of.  That's why I check their site every once in a while.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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>walmart.com (yes, the website of the 
>infamous Walmart chain--you'd be surprised what costume books they carry) 
>have shown much better prices than Amazon on books in which I'm interested.
>
>  
>

I think Wal-Mart, and some other surprising venues, use the database of 
the giant wholesaler I mentioned.   This does not mean Wal-Mart lists 
every book in print, but it's still an enormous and varied selection.  
There's no evaluation process, and no purchasing risk, because they 
don't stock the books.  They back order from the wholesaler.  Which is 
what Amazon and Barnes&Noble.com and most of the other big online stores 
do most of the time. 

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] book selling and Amazon
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On Thursday 11 November 2004 11:17 pm, Lavolta Press wrote:
[snip]
> I think Wal-Mart, and some other surprising venues, use the database of
> the giant wholesaler I mentioned.   This does not mean Wal-Mart lists
> every book in print, but it's still an enormous and varied selection.
> There's no evaluation process, and no purchasing risk, because they
> don't stock the books.  They back order from the wholesaler.  Which is
> what Amazon and Barnes&Noble.com and most of the other big online stores
> do most of the time.

Ah, so that's how they do it.  Thanks for the insight.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Date: Thu, 11 Nov 2004 23:28:17 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
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On Thu, 11 Nov 2004, Catherine Olanich Raymond wrote:

> I am also eager to see the Medieval Clothing & Textiles journal.  I
> put a lot of stock in your judgment and your scholarship, Robin, so I
> feel sure it will be excellent.

Thank you :-) I am really quite nervous, as it is not in my hands right
now. I await proofs. Meanwhile articles are coming in for the second
volume this month.

It's a scholarly journal, so we don't expect it to appeal to all medieval
costumers, and not everyone will find their own interest areas covered in
every issue. But we're aiming for a large spread in time/place
representation each time, so with luck there will be something for most
readers who are interested in scholarly research.

I don't think I'm overstepping to tell you what's in the first volume:
 -- an overview (complete, we hope) of all known examples of European
embroidery before 1100 (Elizabeth Coatsworth)
 -- a literary analysis of textile imagery in Anglo-Saxon riddles and
poetry (Maren Clegg-Hyer)
 -- a study of an illumination showing royal dress in an Anglo-Saxon
manuscript (Gale R. Owen-Crocker)
 -- a look at clothing color references in Icelandic sagas (Sandra Ballif
Straubhaar)
 -- an account of a particular technological change in the construction of
medieval fulling mills (John Muendel)
 -- two different papers on regulations on clerical dress, 13th-14th c.
(one by Susan M. Carroll-Clark and another by Thomas M. Izbicki)
 -- a comparison of theories about tippet construction and attachment in
14th century W. Europe (Robin Netherton)
 -- a summary of dress and textile references in a group of late medieval
English wills (Kristen M. Burkholder)
 -- a theory and experimental reconstruction of a method of weaving 15th
century ruffled-edge veils (Carla Tilghman).

Upcoming: Nalbinding. Flea furs. Early medieval brooches. 9th c. Irish
royal dress. References to weaving in French romances. 12th-13th c. French
embroiderers. Almspurses and the Parisian cloth trade. 15th c. Italian
wool production. Fabric cleaning in 15th c. Germany. Elizabethan
embroidered jackets. Or other fun stuff. (We can't be sure exactly what
the combination will be for a given issue till we've got everything in
hand.)

Looks like I'll be busy for the foreseeable future.

--Robin
not sewing much these days
(so why do I still keep buying fabric?)

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Subject: Re: [h-cost] book selling and Amazon
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I actually like buying used books on Amazon.  I have gotten some great deals there!

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] More 1661 costume notes: laces
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At 20:50 11/11/2004 -0500, you wrote:
>Monday 11 November 1661
>
>http://www.pepysdiary.com/archive/1661/11/11/index.php
>
>[...]Thence to the Wardrobe to dinner, and there by appointment met my 
>wife, who had by my direction brought some laces for my Lady to choose one 
>for her. And after dinner I went away, and left my wife and ladies 
>together, and all their work was about this lace of hers.
>
>[...] So to the Wardrobe, where I found my Lady had agreed upon a lace for 
>my wife of 6/. [I don't know what symbol '/.' is failing to represent], 
>which I seemed much glad of that it was no more, though in my mind I think 
>it too much, and I pray God keep me so to order myself and my wife's 
>expenses that no inconvenience in purse or honour follow this my 
>prodigality. So by coach home.


The symbol is the pre decimal sign for shilling(s)   /-   so 6/- is six 
shillings in old money, roughly 30 pence in decimal.

Suzi


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Subject: [h-cost] 50s Tulle Petticoats
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I am costuming West Side Story.  Does anyone know of a pattern by the Big 3 patternmakers that has a pattern for the 1950s Tulle petticoats for teenagers?

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Subject: [h-cost] Crinoline hoop size
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For the lady who asked about hoop sizes, and whose mail I have lost - oops!

Unless you are tall and wide, rather than tall and elegant, 120" should be 
plenty big enough. By the time you have a petticoat with a frill on the hem 
over it, or two, and your skirt, you will be looking at a four yard hem, at 
least. Do make sure that you have at least 6" clearance from the hem of the 
hoop to the ground, otherwise you can find yourself shrinking and bending 
as you walk up the inside of it.

Apparently Juanita Leitsch (sp?) has a formula in her book "Who Wore What", 
but I have no access to this, and work mine out by eye, which is no help at 
all! (I have a 120" crinoline for trying on, so I can see how much bigger 
or smaller I need.)

Suzi


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Subject: Re: [h-cost] More 1661 costume notes: laces
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Kate Bunting
Library, University of Derby

>>> suzi@suziclarke.co.uk 12/11/2004 06:19:53 >>>
At 20:50 11/11/2004 -0500, you wrote:
>>
>>[...] So to the Wardrobe, where I found my Lady had agreed upon a
>>lace for my wife of 6/. [I don't know what symbol '/.' is failing to
>>represent], 
>
>The symbol is the pre decimal sign for shilling(s)   /-   so 6/- is
six 
>shillings in old money, roughly 30 pence in decimal.
>Suzi

Actually, looking at the Pepys website, it says "6l." (i.e. the letter
L - not very clear in this typeface), so it seems Sam paid six pounds,
not shillings. Shows how expensive lace was when it was all handmade!

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Please, tell us how to get a copy - better yet - every issue!

Robin Netherton wrote:

>On Thu, 11 Nov 2004, Catherine Olanich Raymond wrote:
>
>  
>
>>I am also eager to see the Medieval Clothing & Textiles journal.  I
>>put a lot of stock in your judgment and your scholarship, Robin, so I
>>feel sure it will be excellent.
>>    
>>
>
>Thank you :-) I am really quite nervous, as it is not in my hands right
>now. I await proofs. Meanwhile articles are coming in for the second
>volume this month.
>
>  
>

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In a message dated 11/12/2004 1:27:35 AM Eastern Standard Time, 
penny@costumegallery.com writes:
I am costuming West Side Story.  Does anyone know of a pattern by the Big 3 
patternmakers that has a pattern for the 1950s Tulle petticoats for teenagers?
Wouldn't it be easier to buy them ready-made?  They are a pain to make.  
Check square dance shops.  How long is it going to run, and where?  Maybe you 
could even get square dancers to lend some.  I think that Kwik-Sew still carries a 
pattern, though, if you really want to make them.

Ann Wass
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Kate M Bunting wrote:

> so it seems Sam paid six pounds,
> not shillings. Shows how expensive lace was when it was all handmade!

The frustrating thing is, we don't know how much yardage they bought for 
that price!

cv
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I'm 5'10" with generous proportions.  My largest reproduction cage crinoline is 
116" and I wear it under all of my dresses except for some very simple modest wash 
dresses (worn over a 90" crinoline).  I do have several original cages, including 
one very nice elliptical one made in New London, CT in 1864.  When compared with an 
original covered crinoline c.1860, the elliptical cage looks like it has a smaller 
circumference.  However the original covered crinoline measures 110" and the 
elliptical cage measures 146" at the bottom steel.

I've been doing extensive research on crinolines and skirt-supporting petticoats 
for a presentation at the 2005 Conference.  I've also taught classes on making cage 
and covered crinolines for 17 years and have supervised the construction of 150 - 
200 of them.  I've learned that you can't rely solely on the circumference of the 
bottom steel.  In addition to height, body size, shape and, especially, the overall 
shape of the crinoline must all be considered to achieve the proper silhouette.  

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



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From h-costume-bounces@indra.com  Fri Nov 12 10:11:17 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] More 1661 costume notes: laces
Date: Fri, 12 Nov 2004 16:10:22 +0100
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Dear Cynthia,
Today i received my issue of the danish lace magazine.
In it was an artickle about some graves they have examined in Helsingør 
(Elsinore) The floor had to be restored and the graves beneath examined. 
Most of the graves are 17th. century and the preferred lace in the graves 
are danish versions of the famous "Binche" laces wich are Flandres Laces. 
There was a prohibition law about wearing lace, but it was not held 
according to the rich finds in the graves. Also the ordinary Torchon Laces 
was found amungst rich citisens. So i am glad that Torchon was used in 17th 
century. It is a lace i know to make.
Very interresting article with lovely photos of the incredible preserved 
laces.

Bjarne
----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1115776024.db892a@thibault.org>
To: <h-costume@indra.com>
Sent: Friday, November 12, 2004 2:50 AM
Subject: [h-cost] More 1661 costume notes: laces


> Monday 11 November 1661
>
> http://www.pepysdiary.com/archive/1661/11/11/index.php
>
> [...]Thence to the Wardrobe to dinner, and there by appointment met my 
> wife, who had by my direction brought some laces for my Lady to choose one 
> for her. And after dinner I went away, and left my wife and ladies 
> together, and all their work was about this lace of hers.
>
> [...] So to the Wardrobe, where I found my Lady had agreed upon a lace for 
> my wife of 6/. [I don't know what symbol '/.' is failing to represent], 
> which I seemed much glad of that it was no more, though in my mind I think 
> it too much, and I pray God keep me so to order myself and my wife’s 
> expenses that no inconvenience in purse or honour follow this my 
> prodigality. So by coach home.
>
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] 50s Tulle Petticoats
Date: Fri, 12 Nov 2004 08:17:54 -0700
To: Historical Costume <h-costume@indra.com>
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No, I don't, but they seem pretty simple to make.  Two or three layers 
of gathered netting, although if you need a lot of them, mightn't it be 
fairly cheap and definitely faster just to purchase them?  That's what 
the theatre I worked for last summer did for vaudeville dresses.

Sylrog

On Nov 11, 2004, at 11:26 PM, Penny Ladnier wrote:

> I am costuming West Side Story.  Does anyone know of a pattern by the 
> Big 3 patternmakers that has a pattern for the 1950s Tulle petticoats 
> for teenagers?
>
> Penny E. Ladnier
> Owner, The Costume Gallery & Online Reference Library, AND Costume 
> Classroom
> www.costumegallery.com
> www.costumegallery.com/research.htm
> www.costumeclassroom.com
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Aha one I can help with Simplicity and Kwik Sew have patterns. Also
check out: http://www3.sympatico.ca/drholmes/prom/prompat.htm
Promenade. I use them fairly often because it's amazing how nicely
Square Dance outfits adapt to be Baby Girl Goth or Lolita or EGL.


> > I am costuming West Side Story.  Does anyone know of a pattern by the
> > Big 3 patternmakers that has a pattern for the 1950s Tulle petticoats
> > for teenagers?
> >
> > Penny E. Ladnier
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
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On Fri, 12 Nov 2004, Home Ec wrote:

> Please, tell us how to get a copy - better yet - every issue!

:-)

_Medieval Clothing & Textiles_ will be sold by subscription, but usually
subscribers are libraries and others who need full collections for
reference. If you're more likely to want to check out each issue to see if
it has what you need, and then choose to buy, you can buy single copies
via the Boydell & Brewer website (or at conferences such as the 
Medieval Congress at Kalamazoo). I expect also that some independent
specialty dealers (possibly Janet on this list) will carry copies.

I'll let people know when it's up for sale, probably in the late winter /
early spring.

--Robin


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Subject: Re: [h-cost] another stays question 
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Subject: [h-cost] another stays question


>I am trying to make the stays pattern in Koehlers book. On page 343 there 
>is a pattern draft.
> It says first half of 18th century, but how early is it?
> There seems to be 14 pieces sewed together for this. Is this really 
> nescesary to make so many parts, or do you think that they only tape 
> decorated it? There are many bone directions in this, perhaps this is why 
> it was split up in so many parts.
> I was considering to use this for my dress projekt. Has anybody out there 
> tryed it?


Did anyone ever answer this? My answer is probably too late to be useful, 
but here goes.

I don't have a copy of Kholer, but if it's the pattern I'm thinking of it's 
from around 1725, and though it's a Kohler pattern it still is reasonably 
accurate. (If it's the OTHER one I'm thinking of, it dates to 1715.) The 
early 18thC stays were noticeably curvier and more form-fitting than the 
conical late 18thC stays; with the early stays, most of the shape of the 
stays actually came from seaming, whereas the later stays were mainly shaped 
through the placement of the bones in the body, and through cutting the tabs 
higher to allow a non-seam curve at the waist. In other words, there was a 
big change in stay-making technology in the middle of the 18thC.

So in order to make an early 18thC pair of stays that has the correct shape, 
you do need more seaming. Now, I'd say you don't really need quite 14 
seams--as few as 8 panels (4 on each side) is not uncommon--but you 
definitely wouldn't get an early 18thC shape by using a late 18thC pattern. 
And since the boning technique is so different in the early 18thC, it IS 
important to lay the bones as shown in the pattern. And it's important to 
start the tabs lower than you would on late 18thC stays.

(Even if the pattern isn't the one I'm thinking of, all this still applies 
as long as it is from the first half of the 18thC. The shape of the stays 
overall got less curvy as the century progressed, but it's not until around 
1760 or a bit later that the biggest technological changes really took 
hold.)

Personally, I absolutely love the look of the early 18thC corsets. If you're 
talking about the 1725 pattern I'm thinking of, I've made a test version of 
it, and it fit wonderfully--it didn't even need boning to fit without 
wrinkles!--though I never got around to making up the final stays for one 
reason or another. (I think I got distracted for a few weeks then came back 
to discover that I'd changed shape yet again, which used to happen to me all 
the time, what with my weight going up and down constantly. Thank goodness 
that's mostly done now!) In fact, making that test version made me a convert 
to early 18thC stays, and I lost most of my interest in the later 18thC 
ones. =}

-E House


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Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
Date: Fri, 12 Nov 2004 11:03:46 -0500
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> Please, tell us how to get a copy - better yet - every issue!

Your local evil book lady plans to be selling it :-) .

Janet

Janet Davis
Castle Furnishings
www.medievalbookstore.com
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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] 50s Tulle Petticoats
Date: Fri, 12 Nov 2004 11:06:33 -0500
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Status: RO

Ann, 

Thanks for the suggestion about square dancing clubs.  I found a website with several clubs in Richmond.  Thanks!

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
  ----- Original Message ----- 
  From: AnnBWass@aol.com 
  To: h-costume@indra.com 
  Sent: Friday, November 12, 2004 7:49 AM
  Subject: Re: [h-cost] 50s Tulle Petticoats


  In a message dated 11/12/2004 1:27:35 AM Eastern Standard Time, 
  penny@costumegallery.com writes:
  I am costuming West Side Story.  Does anyone know of a pattern by the Big 3 
  patternmakers that has a pattern for the 1950s Tulle petticoats for teenagers?
  Wouldn't it be easier to buy them ready-made?  They are a pain to make.  
  Check square dance shops.  How long is it going to run, and where?  Maybe you 
  could even get square dancers to lend some.  I think that Kwik-Sew still carries a 
  pattern, though, if you really want to make them.

  Ann Wass
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Subject: Re: [h-cost] another stays question 
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Status: RO

Hi,
Thanks for your answer. No others answered it, so i guess very few have 
tryed it.
The pattern i am thinking of has an extra linning of the front piece, wich 
is narrower at the point. This is made so that the front point bulks out 
because the linning is smaller.
Would be interresting to make it i think

Bjarne


----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 12, 2004 4:48 PM
Subject: Re: [h-cost] another stays question


> ----- Original Message ----- 
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Subject: [h-cost] another stays question
>
>
>>I am trying to make the stays pattern in Koehlers book. On page 343 there 
>>is a pattern draft.
>> It says first half of 18th century, but how early is it?
>> There seems to be 14 pieces sewed together for this. Is this really 
>> nescesary to make so many parts, or do you think that they only tape 
>> decorated it? There are many bone directions in this, perhaps this is why 
>> it was split up in so many parts.
>> I was considering to use this for my dress projekt. Has anybody out there 
>> tryed it?
>
>
> Did anyone ever answer this? My answer is probably too late to be useful, 
> but here goes.
>
> I don't have a copy of Kholer, but if it's the pattern I'm thinking of 
> it's from around 1725, and though it's a Kohler pattern it still is 
> reasonably accurate. (If it's the OTHER one I'm thinking of, it dates to 
> 1715.) The early 18thC stays were noticeably curvier and more form-fitting 
> than the conical late 18thC stays; with the early stays, most of the shape 
> of the stays actually came from seaming, whereas the later stays were 
> mainly shaped through the placement of the bones in the body, and through 
> cutting the tabs higher to allow a non-seam curve at the waist. In other 
> words, there was a big change in stay-making technology in the middle of 
> the 18thC.
>
> So in order to make an early 18thC pair of stays that has the correct 
> shape, you do need more seaming. Now, I'd say you don't really need quite 
> 14 seams--as few as 8 panels (4 on each side) is not uncommon--but you 
> definitely wouldn't get an early 18thC shape by using a late 18thC 
> pattern. And since the boning technique is so different in the early 
> 18thC, it IS important to lay the bones as shown in the pattern. And it's 
> important to start the tabs lower than you would on late 18thC stays.
>
> (Even if the pattern isn't the one I'm thinking of, all this still applies 
> as long as it is from the first half of the 18thC. The shape of the stays 
> overall got less curvy as the century progressed, but it's not until 
> around 1760 or a bit later that the biggest technological changes really 
> took hold.)
>
> Personally, I absolutely love the look of the early 18thC corsets. If 
> you're talking about the 1725 pattern I'm thinking of, I've made a test 
> version of it, and it fit wonderfully--it didn't even need boning to fit 
> without wrinkles!--though I never got around to making up the final stays 
> for one reason or another. (I think I got distracted for a few weeks then 
> came back to discover that I'd changed shape yet again, which used to 
> happen to me all the time, what with my weight going up and down 
> constantly. Thank goodness that's mostly done now!) In fact, making that 
> test version made me a convert to early 18thC stays, and I lost most of my 
> interest in the later 18thC ones. =}
>
> -E House
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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On Thu, 11 Nov 2004 16:58:57 +0000, Suzi Clarke <suzi@suziclarke.co.uk> wrote:
> At 07:34 11/11/2004 -0800, you wrote:
> >At 12:20 PM 11/10/2004 -0800, you wrote:
> >
> >>Recently I read somewhere that wool tweed is an appropriate fabric for
> >>merchant class 1560. Is this correct? My husband enjoys the look of tweed
> >>and would love a tweed doublet. I have seen two distinctive types of
> >>tweed one that looks mottled and one that's more plaid. Are they both
> >>appropriate? Any sources or general info would be helpful if the
> >>naysayers say nay to tweed! :-)                                      Truly,
> >>
> >>                                    Angelique
> >
> >I'm not certain about what we modernly call "tweed" (the mottled color,
> >heathery yarn), but twill weaves are certainly period (in fact, they go
> >back at least to the Iron Age textiles from Danish bogs).  The word
> >"tweed" is from the same root word as "twill", and may be used
> >interchangably.  So any references you may find probably refer to a
> >twill-weave.  I have not seen any references to what we call "plaid"
> >(checked-pattern weaves) for 16th-century English.  If you use a
> >twill-woven wool in a rich solid color, you can't go wrong, and it would
> >look wonderful.
> 
> I have seen check fabric samples from a medieval site, the so called
> "Baynard Castle" site. It was check because it had stripes both vertical
> and horizontal, for want of a better description. However, in no way did it
> resemble a modern plaid or tartan. All the fabrics were finer than modern
> tweed seems to be. That could be because there was not a representative
> sample in the midden, which is where these were found - if used for
> lavatorial purposes, obviously the finer pieces the better!! I have a funny
> feeling that the check on one piece was pink! But don't quote me, as I
> cannot find my notes from that day.
> 
> Suzi
> 
IIRC the sleeve piece that is shown in Textiles & Clothing is what I
would call a buffalo check, larger than gingham, and it was undyed
white yarn and yarn dyed with madder. So the checks where the white
and red blended might look pink depending on what color the
madder-dyed yarn actually was (i.e., orange or red).

Pixel
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] another stays question 
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>The pattern i am thinking of has an extra linning of the front piece, wich 
>is narrower at the point. This is made so that the front point bulks out 
>because the linning is smaller.
>Would be interresting to make it i think
>

The lining also acts as a busk pocket. There is what I think is a similar 
set of stays in Bath, and if you bend down and squint a bit, you can see 
the pocket. The busk has one of its triangular edges towards the bust, and 
the flat face towards the corset, as far as I could see. The seams are all 
real seams and taped to cover the stitching.

Suzi


>>>I am trying to make the stays pattern in Koehlers book. On page 343 
>>>there is a pattern draft.
>>>It says first half of 18th century, but how early is it?
>>>There seems to be 14 pieces sewed together for this. Is this really 
>>>nescesary to make so many parts, or do you think that they only tape 
>>>decorated it? There are many bone directions in this, perhaps this is 
>>>why it was split up in so many parts.
>>
>>
>>I don't have a copy of Kholer, but if it's the pattern I'm thinking of 
>>it's from around 1725, and though it's a Kohler pattern it still is 
>>reasonably accurate. (If it's the OTHER one I'm thinking of, it dates to 
>>1715.) The early 18thC stays were noticeably curvier and more 
>>form-fitting than the conical late 18thC stays; with the early stays, 
>>most of the shape of the stays actually came from seaming, whereas the 
>>later stays were mainly shaped through the placement of the bones in the 
>>body, and through cutting the tabs higher to allow a non-seam curve at 
>>the waist. In other words, there was a big change in stay-making 
>>technology in the middle of the 18thC.
>>
>>So in order to make an early 18thC pair of stays that has the correct 
>>shape, you do need more seaming. Now, I'd say you don't really need quite 
>>14 seams--as few as 8 panels (4 on each side) is not uncommon--but you 
>>definitely wouldn't get an early 18thC shape by using a late 18thC 
>>pattern. And since the boning technique is so different in the early 
>>18thC, it IS important to lay the bones as shown in the pattern. And it's 
>>important to start the tabs lower than you would on late 18thC stays.
>>
>>(Even if the pattern isn't the one I'm thinking of, all this still 
>>applies as long as it is from the first half of the 18thC. The shape of 
>>the stays overall got less curvy as the century progressed, but it's not 
>>until around 1760 or a bit later that the biggest technological changes 
>>really took hold.)
>>
>>Personally, I absolutely love the look of the early 18thC corsets. If 
>>you're talking about the 1725 pattern I'm thinking of, I've made a test 
>>version of it, and it fit wonderfully--it didn't even need boning to fit 
>>without wrinkles!--though I never got around to making up the final stays 
>>for one reason or another. (I think I got distracted for a few weeks then 
>>came back to discover that I'd changed shape yet again, which used to 
>>happen to me all the time, what with my weight going up and down 
>>constantly. Thank goodness that's mostly done now!) In fact, making that 
>>test version made me a convert to early 18thC stays, and I lost most of 
>>my interest in the later 18thC ones. =}
>>
>>-E House
>>
>>
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>
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Subject: Re: [h-cost] another stays question 
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----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 12, 2004 5:19 PM
Subject: Re: [h-cost] another stays question


>
>>The pattern i am thinking of has an extra linning of the front piece, wich 
>>is narrower at the point. This is made so that the front point bulks out 
>>because the linning is smaller.
>>Would be interresting to make it i think
>>
>
> The lining also acts as a busk pocket. There is what I think is a similar 
> set of stays in Bath, and if you bend down and squint a bit, you can see 
> the pocket. The busk has one of its triangular edges towards the bust, and 
> the flat face towards the corset, as far as I could see. The seams are all 
> real seams and taped to cover the stitching.
>
> Suzi


Dear Suzi,
Oh that was nice to know. I didnt know that. It is irritating that Koehler 
didnt make any comments about where his sources came from.
I really would like to se that some time.
I photoed a pair of early 18th century stays at the danish national museum 
some years ago, and it also had this narrower piece in the front linning. 
But it did not have a busk. In fact i remember that it was impossible to 
fold out these stays because they were shaped so much. Got lots of pictures. 
These early stays had the same cut in the back as the cut in womens clothes 
where there are some curved bones towards the waist. Otherwise it was much 
more shaped and long than Norah Waughs cut.
I remember its weight striked me, because it was so heavy with all these 
bones. Poor lady.

Bjarne
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
<snip>
> I photoed a pair of early 18th century stays at the danish national museum 
> some years ago, and it also had this narrower piece in the front linning. 
> But it did not have a busk. In fact i remember that it was impossible to 
> fold out these stays because they were shaped so much. Got lots of 
> pictures.

I'd love to see the photos! Are they on your website somewhere?

-E House

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Subject: [h-cost] 19th cent American Actors: image collection
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I don't recall this being posted here. It is a digital collection at the 
University of Washington Libraries of studio photographs of mid-19th 
century actors. It includes many in costume and many in everyday 
clothes. Some real delights...

http://content.lib.washington.edu/search-collection-list.html

- Hope
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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] another stays question 
Date: Fri, 12 Nov 2004 21:39:17 +0100
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Hi,
I was not allowed to use the photos i took at the museum, but if you go 
here:
http://home0.inet.tele.dk/drewscph/underpinnings_.htm
You can se a little photo of it.

Bjarne


----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 12, 2004 8:41 PM
Subject: Re: [h-cost] another stays question


> ----- Original Message ----- 
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> <snip>
>> I photoed a pair of early 18th century stays at the danish national 
>> museum some years ago, and it also had this narrower piece in the front 
>> linning. But it did not have a busk. In fact i remember that it was 
>> impossible to fold out these stays because they were shaped so much. Got 
>> lots of pictures.
>
> I'd love to see the photos! Are they on your website somewhere?
>
> -E House
>
> _______________________________________________
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> h-costume@mail.indra.com
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> 


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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Crinoline hoop size
To: Historical Costume <h-costume@indra.com>
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The photos I looked at had hems in a 0.60 ratio to the
height of the wearer (+/-), so somewhat smaller than
that--make up any difference in your petticoats (at
least three over the crinoline) & skirts, etc.
ymmv, etc.

I made my hoops knee-length with about a dozen steels,
since I was making a masquerade ball outfit, which
tended to run to upper-calf length in the 1860's.

Ann in CT


		
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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: crossed stripes weaving Re: [h-cost] wool/1560/tweed???
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> IIRC the sleeve piece that is shown in Textiles &
> Clothing is what I
> would call a buffalo check, larger than gingham, and
> it was undyed
> white yarn and yarn dyed with madder. So the checks
> where the white
> and red blended might look pink depending on what
> color the
> madder-dyed yarn actually was (i.e., orange or red).
> 
> Pixel

I'd say more like 'windowpane' shirting.

warp:  2 dark, 8 light, 2 medium, 8 light, rep.
weft:  2 dark, 6 light, 2 medium, 6 light, rep.

Why, yes, I have spent too much time with MoL Textiles
& Clothing.

Ann in CT


		
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Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
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On Friday 12 November 2004 12:28 am, Robin Netherton wrote:
> On Thu, 11 Nov 2004, Catherine Olanich Raymond wrote:
> > I am also eager to see the Medieval Clothing & Textiles journal.  I
> > put a lot of stock in your judgment and your scholarship, Robin, so I
> > feel sure it will be excellent.
>
> Thank you :-) I am really quite nervous, as it is not in my hands right
> now. I await proofs. Meanwhile articles are coming in for the second
> volume this month.

Excellent.  

I was an editor on a law review journal a long time ago, and one of the big 
nervous-making things about running it was whether you would have enough 
articles to fill out the issue.  Since a law review is a student publication, 
we would always have articles by review members, but you lose face if you 
cannot obtain at least half your page count from experienced members of the 
bar.

Anyway, good luck!


> It's a scholarly journal, so we don't expect it to appeal to all medieval
> costumers, and not everyone will find their own interest areas covered in
> every issue. 

I expect that with specialized journals of every type.  I will probably scout 
out the first few issues before taking a subscription.  By the way, any word 
on the likely subscription price?  The per issue price?

[snip]

> I don't think I'm overstepping to tell you what's in the first volume:
>  -- an overview (complete, we hope) of all known examples of European
> embroidery before 1100 (Elizabeth Coatsworth)
>  -- a literary analysis of textile imagery in Anglo-Saxon riddles and
> poetry (Maren Clegg-Hyer)
>  -- a study of an illumination showing royal dress in an Anglo-Saxon
> manuscript (Gale R. Owen-Crocker)
>  -- a look at clothing color references in Icelandic sagas (Sandra Ballif
> Straubhaar)

Well, there's four articles that interest me already; guess I'm going to be 
buying that issue.  :-)

[snip]

> Upcoming: Nalbinding. Flea furs. Early medieval brooches. 9th c. Irish
> royal dress. References to weaving in French romances. 12th-13th c. French
> embroiderers. Almspurses and the Parisian cloth trade. 15th c. Italian
> wool production. Fabric cleaning in 15th c. Germany. Elizabethan
> embroidered jackets. Or other fun stuff. (We can't be sure exactly what
> the combination will be for a given issue till we've got everything in
> hand.)

Excellent.  Now I really can't wait!
>
> Looks like I'll be busy for the foreseeable future.

It does.  But, really, would you want it any other way?
>
> --Robin
> not sewing much these days
> (so why do I still keep buying fabric?)

[because it's an addiction!]  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Apologies for the cross-posting, should anyone get this more than once.

I am going to Chicago tomorrow on a work-sponsored shopping trip.  We are 
going by bus and will be let out on the Miracle Mile, at Watertower Place.  
What I *really* need to shop for is a metal corset busk and some hoop wire.

Does anyone have a clue as to where (if anywhere) I might be able to find 
those things not-too-far from where I'll be dropped off?  I am willing to 
schlep a bit for them.

I'm leaving the house at about 5.00 am on Saturday, so please reply 
privately if you have any information, as I might not receive it on digest.

Many thanks!

Richard in MI


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


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From: "Elizabeth Walpole" <ewalpole@austarmetro.com.au>
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Subject: Re: [h-cost] book selling  by Amazon and Barnes & Noble
Date: Sat, 13 Nov 2004 09:28:41 +1100
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<snip>
> >> This means that what you pay -  say -  US$15.95  for in the States,
> >> is offered to UK consumers at UK£15.95 [US$28.71 at the present Rate
> >> -of-Exchange!]; - when, by rights, the book should be offered to UK
> >> Readers at UK£8.90 approx [at the current Rate of Exchange] with a
> >> /small "/mark-up" to cover trans-Atllantic Shipping Costs, + O&P.
<snip> >> OK, realistically, one expects a certain "mark-up" to cover
Shipping,
> >> and Middlemens' profits, - but not as much as this!
> >
> >
> > Overseas shipping is genuinely quite expensive, especially if the
> > book(s) cannot be shipped at a very slow rate. It is also more work to
> > order and fill orders--more questions as to shipping and payment
> > options and so on.
> >
<snip>
Not to mention the fact that these book retailers need to pay all their
costs in UK £ their staff their rent, their electricity bills, their
advertising etc. all have to be taken into account. Many of these middlemen
will also have to be paid in UK£. But if the exchange rate is good enough
for it to still be cheaper when you factor in shipping, go ahead and buy
direct from the US, you are perfectly entitled to do so.
Elizabeth
----------------------------------------------------------------------------
Elizabeth Beaumont              Elizabeth Walpole
             in                         OR                 in
Politarchopolis, Lochac        Canberra, Australia
             ewalpole@austarmetro.com.au

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Mystery fabric
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I was at the antique shop yesterday and picked up just
a bit over 4 yards of some really nifty fabric. (I
don't even HAVE to be in a fabric store to sniff out
the stuff!) Problem is, I am having a dickens of a
time figuring out the fibre content. 
It's black voided velvet, when burn tested separately
warp, weft and pile all have a distinct papery
smelling smoke, resists flame at first, burns with an
orange flame and smoulders with an afterglow. The ash,
when I could finally get it reduced to ash, was dark
grey and soft. All this points to cotton/linen/rayon,
but does *not* look or feel like it. I threw a sample
into bleach, and there is no marked degredation of the
fibres, and in some stripes, it resisted changing
colour as well. The hand of the fabric is very much
like duchesse satin, the satin is an almost matte
finish and the pile is shiny and luxuriously soft. I
took pictures, both with and without a flash:
http://members.rogers.com/kpage49/IMG_1045.JPG
http://members.rogers.com/kpage49/IMG_1046.JPG
Interestingly, it is only 35 inches wide. Something I
haven't seen in a modern couture fabric before. I have
*no* clue on where it came from or how old it actually
is.
I realise this is a very difficult forum to ask such a
touchy-feely question, but I honestly have no idea
what this is made of. Any opinions are welcome.

Kathy

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At Fri, 12 Nov 2004 01:26:39 -0500, "Penny Ladnier" 
<penny@costumegallery.com> wrote:

Butterick 4114 for the poodle skirt AND matching petticoat. $9.95 MSRP, 
half price through SewingToday 
http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B4114=x&TI=10013&pageNum=8&M=&UK=34983216. 
The back view isn't shown (blank area) so I don't know what sort of pattern 
or closure it uses.

McCall's 7253 ($8.50 MSRP, half-price through SewingToday 
http://store.sewingtoday.com/cgi-bin/mccallspatterns/shop.cgi?s.item.M7253=x&TI=40020&pageNum=9&M=&UK=35085576) 
also has both the skirt and the petticoat, though it's an elastic-waist 
skirt. It's made from single fronts and backs of fabric (non-gored 
construction).

The corresponding Simplicity pattern (5403) does not have a petticoat; the 
skirt closes with a side zipper. It's also non-gored construction.

Most of the (original) patterns I have from that time show 4-, 6-, or 
8-gore construction to a waistband (either plain and narrow or wide and 
shaped) and left-side zipper closure. The one skirt from my collection that 
comes with a petticoat pattern is not of ruffled tulle, but has the lower 
half of the semi-circular petticoat flatlined with about 18" of "crinoline" 
and the bottom edge finished with ruffled eyelet edging. The petticoat to 
my mother's wedding gown (1956) was of similar design to the one in the 
McCall's pattern, but with "horsehair" edging along the tulle and an upper 
layer of a narrow-pleated sheer fabric with a rolled-edge hem.

If you collect Burda pattern magazines (the ones with the patterns on a 
pull-out section), there's a skirt and petticoat from around 1990 that 
should also fit the description you're looking for...


Brenda
webwarren@earthlink.net

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Mystery fabric
Date: Sat, 13 Nov 2004 11:21:55 -0700
To: Historical Costume <h-costume@indra.com>
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My guess would be rayon.  Why don't you think it could be that?  They 
make rayon velvets and they can be very shiny and soft.  Didn't they 
start making rayon in the 20s or 30s?

Sylrog

On Nov 13, 2004, at 10:24 AM, Kathy Page wrote:

> I was at the antique shop yesterday and picked up just
> a bit over 4 yards of some really nifty fabric. (I
> don't even HAVE to be in a fabric store to sniff out
> the stuff!) Problem is, I am having a dickens of a
> time figuring out the fibre content.
> It's black voided velvet, when burn tested separately
> warp, weft and pile all have a distinct papery
> smelling smoke, resists flame at first, burns with an
> orange flame and smoulders with an afterglow. The ash,
> when I could finally get it reduced to ash, was dark
> grey and soft. All this points to cotton/linen/rayon,
> but does *not* look or feel like it. I threw a sample
> into bleach, and there is no marked degredation of the
> fibres, and in some stripes, it resisted changing
> colour as well. The hand of the fabric is very much
> like duchesse satin, the satin is an almost matte
> finish and the pile is shiny and luxuriously soft. I
> took pictures, both with and without a flash:
> http://members.rogers.com/kpage49/IMG_1045.JPG
> http://members.rogers.com/kpage49/IMG_1046.JPG
> Interestingly, it is only 35 inches wide. Something I
> haven't seen in a modern couture fabric before. I have
> *no* clue on where it came from or how old it actually
> is.
> I realise this is a very difficult forum to ask such a
> touchy-feely question, but I honestly have no idea
> what this is made of. Any opinions are welcome.
>
> Kathy
>
> ______________________________________________________________________
> Post your free ad now! http://personals.yahoo.ca
> _______________________________________________
> 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] Mystery fabric
Date: Sat, 13 Nov 2004 13:39:31 -0500
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What about an "old" rayon, from the 20's or 30's? The process has changes
some so the burn results would be slightly different. I have some old
pieces, and a dress, of my grandmothers. The velvet is incredibly soft and
silky. It could very easily pass for silk. I can't get to any of it right
now but my recollection is that all the rayon (velvet or otherwise) pieces I
inherited were 32 or 35 wide.

Beth



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Subject: Re: [h-cost] Mystery fabric
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Kathy Page wrote:


> I realise this is a very difficult forum to ask such a
> touchy-feely question, but I honestly have no idea
> what this is made of. Any opinions are welcome.
> 

Rayon tends to feel 'cold' to the touch. Also, I noticed it has 
wrinkles. If you hang rayon wrinkles tend to fall out. Does the fabric 
exhibit either quality?

It 'looks' like a poly blend base to me in the photo, but it's hard to 
be sure without being able to touch it.

As for the width, a lot of overseas fabrics not made for export are 
narrower than fabrics sold in the US market.

How much heat do you need to apply to the flat areas to get it ironed? 
That will be a clue. Cotton will take more pressing to smooth than poly 
or rayon. Linen may never completely lose the wrinkles.

If you grab a handful and wrinkle it into a ball how does it react when 
you let go? Linen and wools tend to 'spring' while rayon will stay limp.

Does it stain when you get it wet? Silk blends will sometimes leave 
water rings. Cottons tend not to, but it may depend on how colorfast the 
dye is. Test a spot with a damp piece of clean muslin to see if color 
will rub off. Older rayons were notoriously bad about bleeding and 
shrinkage.



Dawn


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Crinoline hoop size
Date: Sat, 13 Nov 2004 16:43:03 -0500
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On Friday 12 November 2004 1:35 am, Suzi Clarke wrote:
[snip]
> Apparently Juanita Leitsch (sp?) has a formula in her book "Who Wore What",
> but I have no access to this, and work mine out by eye, which is no help at
> all! (I have a 120" crinoline for trying on, so I can see how much bigger
> or smaller I need.)

Ah, but I have "Who Wore What?"  The book does give a guide to guessestimating 
the approximate circumference of hoop you'd need to imitate the look of a 
skirt in a particular 1860's photo.  Hold on....

Ms. Leisch says, in "Who Wore What," at page 70:

"Photographs generally show skirt widths that appear to be about 50% as wide 
as the wearer's height.  Late-ware elliptical-shaped skirts, with their 
slight trains, appear to be as much as 70% as wide as the height of the 
wearer."

So what you want to do is figure your height (in inches or centimeters), take 
50% or 70% of the number (depending on the style in which you are interested, 
and then apply the formula for ascertaining the circumference of a circle 
with a diameter equal to half one's height.

The formula is 

Circumference = pi times diameter

(see this web site for more on the math involved with determining 
circumference, radius, or diameter of a circle:

http://www.mathgoodies.com/lessons/vol2/circumference.html )


So you multiply your diameter figure by pi (one of those infinite 
non-repeating decimals, but generally approximated as 3.1416 or, more 
crudely, as 22/7) and that tells you the circumference you need.

In my case, I'm 61 inches tall.  Half my height is 30.5 inches.  3.1416 times 
30.5 is 95.81 inches.

Now, if I wanted a skirt with a diameter of 70% my height,  that figure is 
42.7 inches.

3.1416 times 42.7 inches=  134.1 inches.

I usually use a stock 120 inch hoop, though, and it works just fine.  :-)

--
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: Re: [h-cost] Mystery fabric
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In a message dated 11/13/2004 12:29:12 PM Eastern Standard Time, 
caitlin_oduibhir@yahoo.ca writes:
It's black voided velvet, 
That suggests it might be a blend--the part that was "voided" could have been 
made of something else.  That may be why you are having a problem identifying 
it.

I think rayon is the most likely candidate.

Ann Wass
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Subject: Re: [h-cost] 50s Tulle Petticoats
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Penny,

Unless you are absolutely dying to make it (and if so, I've got a lovely 
pattern, but it may be O/P), you might want to try Malco Modes in Tennessee. 
423-775-5919, toll free 1-800-777-1320.  Anyone with a resale license can 
buy them direct, they come in over 20 colors and they have both tulle and 
nylon.  I bought some in bulk for West Side Story myself.    The nylon ones 
are $25 each and that is so much cheaper than making them (they used 
something like 65 yards of nylon, if you include all the gathers).  They are 
the largest manufacturer in the country for square dancing pettis.

But maybe you love to make gathers, in which case, I'll go look up the 
pattern number!

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: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Thursday, November 11, 2004 10:26 PM
Subject: [h-cost] 50s Tulle Petticoats


I am costuming West Side Story.  Does anyone know of a pattern by the Big 3 
patternmakers that has a pattern for the 1950s Tulle petticoats for 
teenagers?

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm
www.costumeclassroom.com
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
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	<00ef01c4c9f4$c9f7f410$0701a8c0@lazear1>
Subject: Re: [h-cost] 50s Tulle Petticoats
Date: Sat, 13 Nov 2004 23:48:14 -0500
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Status: RO

Angela,

Thank you for the suggestions.  I will keep it in mind for the next time.  Tonight I met with the Richmond Square Dance Association and they are willing to loan us as many net petticoats we need.  The people were so nice.  My young asst. designer really enjoyed the day of thrift store hopping.   I think we have another one for the next generation of costumers.  Gotta love her!  She follows me around taking notes non-stop.   She is like a sponge that can't soak up enough information.  She had a good time with the square dancers.
 
Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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Subject: Re: [h-cost] 50s Tulle Petticoats
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In a message dated 11/13/2004 9:54:08 PM Eastern Standard Time, 
cabbagerose@sbcglobal.net writes:
Unless you are absolutely dying to make it (and if so, I've got a lovely 
pattern, but it may be O/P), you might want to try Malco Modes in Tennessee. 
I think your information is outdated--I believe Malco Modes went out of 
business a couple of years ago.  

Ann Wass
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Mystery fabric
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Status: RO

I think the pattern of the burnout will be the clue for age.  I have a
garment with a similar motif that is clearly mid 20's.  And my guess is also
rayon.
Kathleen
----- Original Message ----- 
From: "Beth Chamberlain" <Bchamber@suffolk.lib.ny.us>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Saturday, November 13, 2004 1:39 PM
Subject: RE: [h-cost] Mystery fabric


> What about an "old" rayon, from the 20's or 30's? The process has changes
> some so the burn results would be slightly different. I have some old
> pieces, and a dress, of my grandmothers. The velvet is incredibly soft and
> silky. It could very easily pass for silk. I can't get to any of it right
> now but my recollection is that all the rayon (velvet or otherwise) pieces
I
> inherited were 32 or 35 wide.
>
> Beth
>
>
>
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From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] 50s Tulle Petticoats
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Ann, I think you may be thinking of the SF division. They moved from their 
location here in SF (where they were for decades) back to their homeland in 
Tennessee, but I believe they are still in business there.  They almost 
dropped off the face of the earth judging by how hard it was to find their 
listing (although many square dancing places still offer MM pettis). Took me 
quite awhile to find the new address, but I finally did and ordered a 
catalogue.

My catalogue is dated January 02, and I bought from them in December of that 
year.  Exchanged emails in early spring 2003 re: photos of the show for 
their records.    The numbers I have are still connected and they are also 
still listed in the yellow pages.

I can check again tomorrow when they should be in and let everyone know, but 
I'm pretty sure they're still around.

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: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Sunday, November 14, 2004 3:40 AM
Subject: Re: [h-cost] 50s Tulle Petticoats


> In a message dated 11/13/2004 9:54:08 PM Eastern Standard Time,
> cabbagerose@sbcglobal.net writes:
> Unless you are absolutely dying to make it (and if so, I've got a lovely
> pattern, but it may be O/P), you might want to try Malco Modes in 
> Tennessee.
> I think your information is outdated--I believe Malco Modes went out of
> business a couple of years ago.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: [h-cost] button molds
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I'm attempting to make the Death's Head buttons from Nancy Nehring's "50 
Heirloom Buttons to Make."  Does anyone have a source for the button molds?

Thanks,
--Charlene


-- 
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and since we cannot protect ourselves against such horrors as mass 
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willing to relinquish for such a bald promise?  -- Gerry Spence, 
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
Subject: Re: [h-cost] Mystery fabric
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Dawn wrote:
> Rayon tends to feel 'cold' to the touch. 

When I put my hand into the folds, it does not feel
any cooler than any other average fabric.

>If you hang rayon wrinkles tend to fall out. 

The wrinkles have not changed since that pic, and it
has been hanging since I posted the original message.
 
> It 'looks' like a poly blend base to me in the
> photo, but it's hard to 
> be sure without being able to touch it.

That's why I asked the question. Fingers are saying
polyester, but the rest of my senses say otherwise. My
gut instinct said poly base and silk pile, but in all
cases - I separated warp, weft and pile they burned
exactly the same. Smelled clearly of burning
paper/leaves, no chemical smell, and when I convinced
it to burn to ashes, no plasticky/gummy residue, just
soft spidery ash.

> As for the width, a lot of overseas fabrics not made
> for export are 
> narrower than fabrics sold in the US market.

I can accept that, the chinese brocade I buy 35" or
so.

> 
> How much heat do you need to apply to the flat areas
> to get it ironed? 

I had it set to dry/cotton and that was too much. In
fact it turned the flat spots shiny.

> If you grab a handful and wrinkle it into a ball how
> does it react when 
> you let go? 

It accepts *some* wrinkling after hot moist breath is
blown into the fistful, and more or less fall back out
again afterward.

> Does it stain when you get it wet? 

No.

Test a spot with a damp piece of clean
> muslin to see if color 
> will rub off. 

Absolutely none.

Ann wrote:

> It's black voided velvet, 
> That suggests it might be a blend--the part that was
> "voided" could have been 
> made of something else.  That may be why you are
> having a problem identifying 
> it.

What part though? that is what's getting me. Having
separated warp, weft and pile and burned them
independantly, I can't figure it out. The voided
sections were not chemically voided - this fabric was
woven that way. The wrong side of the velvet shows the
weave changes as the loops were added into the wefts. 

> 
> I think rayon is the most likely candidate.

I tend to agree. It walks like a duck, sounds like a
duck... just doesn't feel like one. Really weird.

Kathleen wrote:

> I think the pattern of the burnout will be the clue
> for age.  I have a
> garment with a similar motif that is clearly mid
> 20's.  And my guess is also
> rayon.

I remember having some cut velvet jaquard roughly 20
(I can't believe it was THAT long ago now...) years
ago for my grad dress I had made, and it had a
striking resemblance to this pattern as well. 

Beth wrote:

> The process has changes
> > some so the burn results would be slightly
> different. 

It wasn't burnt.. that's another thing that threw me
off.

I have some old
> > pieces, and a dress, of my grandmothers. The
> velvet is incredibly soft and
> > silky. It could very easily pass for silk. 

I keep expecting it to smell like hair every time I
burn it that's how close to silk it feels.

rayon
> (velvet or otherwise) pieces
> I
> > inherited were 32 or 35 wide.

It's entirely possible. I would have thought though
after so many years presumably packed up it would have
developed severe fold lines in the velvet and that
typical "old" smell... it has neither.

Kathy

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>Snip
>
>I have some old
> > > pieces, and a dress, of my grandmothers. The
> > velvet is incredibly soft and
> > > silky. It could very easily pass for silk.

>snip

>It's entirely possible. I would have thought though
>after so many years presumably packed up it would have
>developed severe fold lines in the velvet and that
>typical "old" smell... it has neither.


I have a voided velvet shawl if my grandmother's that must be over 60 years 
old, kept in tissue, not acid free originally, and it looks as good as new. 
It is silky, soft, uncreased, doesn't have an old smell, and no fold lines. 
However, I am not prepared to put it through all those tests as it is in 
virtually mint condition, hand made with silk (?) fringe and I love it. It 
has multi-coloured hydrangea heads all over! If I went somewhere posh, I'd 
wear it- it is gorgeous!

Suzi


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Subject: [h-cost] Giovanna Tornabuoni dress
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I (eventually) want to make a dress like this one.
Domenico Ghirlandaio. Portrait of Giovanna Tornabuoni. 1488
http://www.abcgallery.com/G/ghirlandao/ghirlandaio26.html
I know that I have books with plenty of paintings of full length women 
in them in dresses like this, but all my books are packed and 
inaccessible. And I can't remember a single artist's name.
Waaah!
Can you kind people point me to web resources that have these sorts of 
dresses in full length? I am trying to get a better idea of the overall 
style.
Fancy sleeves, tabard-thing are what I am interested in.

Thanks!

liz young

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Subject: [h-cost] OT-Dye help
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Hello everyone!

I have an OT question but I know someone out there will know the answer.

I have a cotton tablecloth that was a light sage green when I bought it. 
Several washes later it has faded to almost eggshell.  I would like to
re-dye it but don't know what brand to use.  I usually do Rit dye but the
colors are all dark-ish.  I saw Dylon dyes at JoAnn's but the closest
color was Olive and I am not sure if it will give me the right color.

So does anyone out there know where I can get a fabric dye that will make
something sage green and won't fade that quickly?

Thanks for the help!

Diana


www.RenaissanceFabrics.net
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  I usually do Rit dye but the
> colors are all dark-ish.  I saw Dylon dyes at JoAnn's but the closest
> color was Olive and I am not sure if it will give me the right color.

Okay, so I have more info now...RIT has a color recipe chart that I found
and they have a mixture for sage green that I might try.  But I would
prefer to use a dye that is actually supposed to be sage green.

Thanks!

Diana

www.RenaissanceFabrics.net
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www.dharmatrading.com

But a darker dye, any brand, if you leave it just a few minutes, will work
too, though the colours might shift a little (a green might be a little
yellowisn or blueish than expected).

----- Original Message ----- 
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 15, 2004 12:36 AM
Subject: [h-cost] OT-Dye help


> Hello everyone!
>
> I have an OT question but I know someone out there will know the answer.
>
> I have a cotton tablecloth that was a light sage green when I bought it.
> Several washes later it has faded to almost eggshell.  I would like to
> re-dye it but don't know what brand to use.  I usually do Rit dye but the
> colors are all dark-ish.  I saw Dylon dyes at JoAnn's but the closest
> color was Olive and I am not sure if it will give me the right color.
>
> So does anyone out there know where I can get a fabric dye that will make
> something sage green and won't fade that quickly?
>
> Thanks for the help!
>
> Diana
>
>
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
>
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Subject: Re: [h-cost] Mystery fabric
Date: Mon, 15 Nov 2004 01:07:50 -0500
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It smells like burning paper, and it's shiney, I'd say rayon, at least for
the pile.

----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: "Historical Costume List" <h-costume@net.indra.com>
Sent: Saturday, November 13, 2004 12:24 PM
Subject: [h-cost] Mystery fabric


> I was at the antique shop yesterday and picked up just
> a bit over 4 yards of some really nifty fabric. (I
> don't even HAVE to be in a fabric store to sniff out
> the stuff!) Problem is, I am having a dickens of a
> time figuring out the fibre content.
> It's black voided velvet, when burn tested separately
> warp, weft and pile all have a distinct papery
> smelling smoke, resists flame at first, burns with an
> orange flame and smoulders with an afterglow. The ash,
> when I could finally get it reduced to ash, was dark
> grey and soft. All this points to cotton/linen/rayon,
> but does *not* look or feel like it. I threw a sample
> into bleach, and there is no marked degredation of the
> fibres, and in some stripes, it resisted changing
> colour as well. The hand of the fabric is very much
> like duchesse satin, the satin is an almost matte
> finish and the pile is shiny and luxuriously soft. I
> took pictures, both with and without a flash:
> http://members.rogers.com/kpage49/IMG_1045.JPG
> http://members.rogers.com/kpage49/IMG_1046.JPG
> Interestingly, it is only 35 inches wide. Something I
> haven't seen in a modern couture fabric before. I have
> *no* clue on where it came from or how old it actually
> is.
> I realise this is a very difficult forum to ask such a
> touchy-feely question, but I honestly have no idea
> what this is made of. Any opinions are welcome.
>
> Kathy
>
> ______________________________________________________________________
> Post your free ad now! http://personals.yahoo.ca
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Subject: Re: [h-cost] OT-Dye help
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Diana wrote:
> So does anyone out there know where I can get a fabric dye that will make
> something sage green and won't fade that quickly?

Try Dharma Trading:   http://www.dharmatrading.com/

They have many brands of dye and one of them should have what you want.  You 
can call the customer service people; they are very knowledgeable and 
helpful.
                    -Helen/Aidan 


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Subject: [h-cost] Mask making and history
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hooooookay... I finally have the page up. Because my
darling husband designed this site, it has some goofy
nagivation issues, so just follow the road map I have
to give you and everything will be fine.

http://outoftheattic.homeip.net/frameset.html start
here
click on "gallery"
click on "Venetian masks and the Martedi Grasso"

Bjarne, in your case, this information is a teeny bit
too old, however, I can safely tell you that because
of your dating you have far more latitude in
materials, techniques and styles than this essay
covers. This will hopefully help you get started,
however.

Kathy 

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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Giovanna Tornabuoni dress
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Hey Liz - try this one.  "The birth of Mary"  by the same artist.   Shows a 
full ciopa on the visitors.   Bridgette


http://www.abcgallery.com/G/ghirlandao/ghirlandaio7.html

>I (eventually) want to make a dress like this one.
>Domenico Ghirlandaio. Portrait of Giovanna Tornabuoni. 1488
>http://www.abcgallery.com/G/ghirlandao/ghirlandaio26.html
>I know that I have books with plenty of paintings of full length women in 
>them in dresses like this, but all my books are packed and inaccessible. 
>And I can't remember a single artist's name.
>Waaah!
>Can you kind people point me to web resources that have these sorts of 
>dresses in full length? I am trying to get a better idea of the overall style.
>Fancy sleeves, tabard-thing are what I am interested in.

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Giovanna Tornabuoni dress
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Hi, Liz! I just purely adore this kind of Italian clothing, and I've 
always seriously lusted after this particular dress, even as I grumble 
about trying to find a match for the brocades! <g>
The best website I've got for it, at least this morning, is festive 
attyre (she' got lots and lots of really yummy stuff...don't get lost!)
A link to a good "gallery" of this kind of image (including more of the 
very same gown) can be found below:

  http://homepage.mac.com/festive_attyre/research/earlyflor/portfolio.html

Have fun!
--sue

Elizabeth Young wrote:
> I (eventually) want to make a dress like this one.
> Domenico Ghirlandaio. Portrait of Giovanna Tornabuoni. 1488
> http://www.abcgallery.com/G/ghirlandao/ghirlandaio26.html
> I know that I have books with plenty of paintings of full length women 
> in them in dresses like this, but all my books are packed and 
> inaccessible. And I can't remember a single artist's name.
> Waaah!
> Can you kind people point me to web resources that have these sorts of 
> dresses in full length? I am trying to get a better idea of the overall 
> style.
> Fancy sleeves, tabard-thing are what I am interested in.
> 
> Thanks!
> 
> liz young

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Giovanna Tornabuoni dress
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At 07:38 15/11/2004 -0700, you wrote:
>Hi, Liz! I just purely adore this kind of Italian clothing, and I've 
>always seriously lusted after this particular dress, even as I grumble 
>about trying to find a match for the brocades! <g>
>The best website I've got for it, at least this morning, is festive attyre 
>(she' got lots and lots of really yummy stuff...don't get lost!)
>A link to a good "gallery" of this kind of image (including more of the 
>very same gown) can be found below:
>
>  http://homepage.mac.com/festive_attyre/research/earlyflor/portfolio.html
>
>Have fun!
>--sue
>
>Elizabeth Young wrote:
>>I (eventually) want to make a dress like this one.
>>Domenico Ghirlandaio. Portrait of Giovanna Tornabuoni. 1488
>>http://www.abcgallery.com/G/ghirlandao/ghirlandaio26.html
>>I know that I have books with plenty of paintings of full length women in 
>>them in dresses like this, but all my books are packed and inaccessible. 
>>And I can't remember a single artist's name.
>>Waaah!
>>Can you kind people point me to web resources that have these sorts of 
>>dresses in full length? I am trying to get a better idea of the overall style.
>>Fancy sleeves, tabard-thing are what I am interested in.

You will find a pattern for this kind of dress in Jean Hunnisett's "Period 
Costume for Stage and Screen Medieval to 1500".


Suzi


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From h-costume-bounces@indra.com  Mon Nov 15 11:26:57 2004
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] OT-Dye help
Date: Mon, 15 Nov 2004 09:31:22 -0700
To: Historical Costume <h-costume@indra.com>
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Status: RO

You could use either Rit or Dylon if you don't want to order dye from a 
dye house.  Get a couple colors and mix them to get the shade you want. 
  Use less if you don't want it as dark.  But either Dharma on the west 
coast or Pro Chem on the east coast probably will have the color you 
want if you don't mind mail order.

On Nov 14, 2004, at 10:36 PM, Diana Habra wrote:

> Hello everyone!
>
> I have an OT question but I know someone out there will know the 
> answer.
>
> I have a cotton tablecloth that was a light sage green when I bought 
> it.
> Several washes later it has faded to almost eggshell.  I would like to
> re-dye it but don't know what brand to use.  I usually do Rit dye but 
> the
> colors are all dark-ish.  I saw Dylon dyes at JoAnn's but the closest
> color was Olive and I am not sure if it will give me the right color.
>
> So does anyone out there know where I can get a fabric dye that will 
> make
> something sage green and won't fade that quickly?
>
> Thanks for the help!
>
> Diana
>
>
> 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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Subject: Re: [h-cost] Re: tulle petticoats
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Many thanks to everyone who sent such speedy advice about the tulle petticoats.  I really do appreciate it.

Penny E. Ladnier
Owner, The Costume Gallery & Online Reference Library, AND Costume Classroom
www.costumegallery.com
www.costumegallery.com/research.htm  
www.costumeclassroom.com 
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From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: [h-cost] button molds
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At Sun, 14 Nov 2004 14:07:14 -0600, Charlene Charette 
<perronnelle@earthlink.net> wrote:

>I'm attempting to make the Death's Head buttons from Nancy Nehring's "50 
>Heirloom Buttons to Make."  Does anyone have a source for the button molds?

I tried this using flat wooden cylinders from the craft shop, about 3/4" 
diameter and less than 1/8" thick. Without integral shanks, these would be 
sewn on with either perle cotton (used to wrap the wood) or the appropriate 
sewing thread (or buttonhole twist). Samples are at 
http://photos.yahoo.com/n2kye/ in the "50 Heirloom Buttons" album.

For a smaller button with a domed top, you might be able to get away with 
those caps that are used to cover screw holes in knockdown furniture (also 
available from your local craft store). Options I've not tried (and which 
are not authentic) might be to use round glass or plastic cabouchons (same 
craft store) or those flat round glass stones used for floral arrangements 
(ditto).

Hope this helps.



Brenda
webwarren@earthlink.net

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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <003a01c4c5a7$3cd30850$6401a8c0@Lillesoster><1247.24.4.69.40.1100497019.squirrel@24.4.69.40>
	<C92ED15F-3723-11D9-9374-000A95C59FB2@ntw.net>
Subject: Re: [h-cost] OT-Dye help
Date: Mon, 15 Nov 2004 10:57:10 -0600
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Diluted dark dyes will dye light quite nicely, but a couple of tips: 1) be 
SURE to get the fabric soaking wet in plain water before you put it in the 
dye bath (or in salt water, if it's the sort of fabric that takes a while to 
get really wet and if salt is part of the dye recipe, like with RIT) and 2) 
be sure that the dye bath is very diluted and is completely mixed (no powder 
residue anywhere in it).

-E House: the voice of ruined-fabric experience! =} 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20041115091428.90495.qmail@web50603.mail.yahoo.com>
Subject: Re: [h-cost] Mask making and history
Date: Mon, 15 Nov 2004 18:00:29 +0100
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Dear Kathy,
A million thanks for your fine site. It will be a great resource and 
inspiration for me.
This was a generous gesture.............

Bjarne


----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: "Historical Costume List" <h-costume@net.indra.com>
Sent: Monday, November 15, 2004 10:14 AM
Subject: [h-cost] Mask making and history


> hooooookay... I finally have the page up. Because my
> darling husband designed this site, it has some goofy
> nagivation issues, so just follow the road map I have
> to give you and everything will be fine.
>
> http://outoftheattic.homeip.net/frameset.html start
> here
> click on "gallery"
> click on "Venetian masks and the Martedi Grasso"
>
> Bjarne, in your case, this information is a teeny bit
> too old, however, I can safely tell you that because
> of your dating you have far more latitude in
> materials, techniques and styles than this essay
> covers. This will hopefully help you get started,
> however.
>
> Kathy
>
> ______________________________________________________________________
> Post your free ad now! http://personals.yahoo.ca
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Mon Nov 15 13:15:06 2004
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Subject: [h-cost] Malco Modes alive & well
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Just so you all know, I did receive email confirmation from Malco that they 
are not out of busines.  They are just moved to Tennessee.  So if you are in 
the market for wholesale pettis, I can repost the information any time.

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..."
All's Well That Ends Well 1.1.65-6, Countess to Bertram
W. Shakespeare

http://www.cabbagerosecostumes.com
+++++++++++++
Message from MALCO MODES below:

Hi, Angela!
Thanks for checking!
As you can see we are still here.
I can't imagine as busy as we are, anyone thinking we were gone.
So, it was just that...a Nasty Rumour!
Let me know if you have any more questions.
I'll be happy to answer.
Take care & be safe!

Sharon
Sharon Vandergriff
Sales & Customer Service Manager

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Giovanna Tornabuoni dress
Date: Mon, 15 Nov 2004 13:13:26 -0600
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http://www.abcgallery.com/G/ghirlandao/ghirlandaio26.html
When I saw this I remembered that there was a full length portrait. 
http://homepage.mac.com/festive_attyre/research/earlyflor/3flor12.html
Then I found it.
(a rarety with me)

De

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  Wow.  You know, I have seen both those pics - in the same book at
practically the same time! - and never noticed it was the same girl in the 
same dress...........

Liadain

-----Original Message-----
From: otsisto <otsisto@socket.net>
Sent: Nov 15, 2004 11:13 AM
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Giovanna Tornabuoni dress

http://www.abcgallery.com/G/ghirlandao/ghirlandaio26.html
When I saw this I remembered that there was a full length portrait. 
http://homepage.mac.com/festive_attyre/research/earlyflor/3flor12.html
Then I found it.
(a rarety with me)

De

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Has anyone here in the US seen that silly Karo commercial, 'Thou makest 
good pie'? They have the housewife dressed up in some sort of 
pseudo-pilgrim getup with buckle shoes and a crochet shawl and a cap. 
I'm trying to figure out those sleeves. They seem to have a large 
pleated puff from elbow to wrist, but since the dress is black I can't 
see it clearly. Can anyone identify the time period (if any) for that 
sleeve style?



Dawn

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From: Julie <jtknits@jtknits.cts.com>
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Subject: [h-cost] button molds
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I have that book too.  I've found beads, both wooden and bone at various bead stores.  In a real pinch I'd be tempted to make my own from Fimo in a neutral color.

Julie

> From: Charlene Charette <perronnelle@earthlink.net>
> Subject: [h-cost] button molds
> To: H-Costume List <h-costume@indra.com>
> Message-ID: <4197BAF2.1040301@earthlink.net>
> Content-Type: text/plain; charset=us-ascii; format=flowed
> 
> I'm attempting to make the Death's Head buttons from Nancy Nehring's "50 
> Heirloom Buttons to Make."  Does anyone have a source for the button molds?
> 
> Thanks,
> --Charlene
> 
>

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Subject: Re: [h-cost] More 1661 laces continued
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Cynthia Virtue wrote:

> Monday 11 November 1661
> 
> http://www.pepysdiary.com/archive/1661/11/11/index.php
> 
> [...]Thence to the Wardrobe to dinner, and there by appointment met my 
> wife, who had by my direction brought some laces for my Lady to choose 
> one for her. And after dinner I went away, and left my wife and ladies 
> together, and all their work was about this lace of hers.
> 
> [...] So to the Wardrobe, where I found my Lady had agreed upon a lace 
> for my wife of 6/. [I don't know what symbol '/.' is failing to 
> represent], which I seemed much glad of that it was no more, though in 
> my mind I think it too much, and I pray God keep me so to order myself 
> and my wife’s expenses that no inconvenience in purse or honour follow 
> this my prodigality. So by coach home.
> 
Wednesday Nov 13

and so it raining very hard I went home by coach, with my mind very 
heavy for this my expensefull life, which will undo me, I fear, after 
all my hopes, if I do not take up, for now I am coming to lay out a 
great deal of money in clothes for my wife, I must forbear other expenses.

Friday 15 November 1661

http://www.pepysdiary.com/archive/1661/11/15/index.php

At home all the morning, and at noon with my wife to the Wardrobe to 
dinner, and there, did shew herself to my Lady in the handkercher that 
she bought the lace for the other day, and indeed it is very handsome.

...

So, six pounds for enough lace for a "handkercher?"  Anyone know how 
large this item must be?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] More 1661 laces continued
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At 19:07 15/11/2004 -0500, you wrote:
>Cynthia Virtue wrote:
>
>>Monday 11 November 1661
>>http://www.pepysdiary.com/archive/1661/11/11/index.php
>>[...]Thence to the Wardrobe to dinner, and there by appointment met my 
>>wife, who had by my direction brought some laces for my Lady to choose 
>>one for her. And after dinner I went away, and left my wife and ladies 
>>together, and all their work was about this lace of hers.
>>[...] So to the Wardrobe, where I found my Lady had agreed upon a lace 
>>for my wife of 6/. [I don't know what symbol '/.' is failing to 
>>represent], which I seemed much glad of that it was no more, though in my 
>>mind I think it too much, and I pray God keep me so to order myself and 
>>my wife's expenses that no inconvenience in purse or honour follow this 
>>my prodigality. So by coach home.
>Wednesday Nov 13
>
>and so it raining very hard I went home by coach, with my mind very heavy 
>for this my expensefull life, which will undo me, I fear, after all my 
>hopes, if I do not take up, for now I am coming to lay out a great deal of 
>money in clothes for my wife, I must forbear other expenses.
>
>Friday 15 November 1661
>
>http://www.pepysdiary.com/archive/1661/11/15/index.php
>
>At home all the morning, and at noon with my wife to the Wardrobe to 
>dinner, and there, did shew herself to my Lady in the handkercher that she 
>bought the lace for the other day, and indeed it is very handsome.
>
>So, six pounds for enough lace for a "handkercher?"  Anyone know how large 
>this item must be?

Possibly what we now sometimes call a fichu, folded double and worn on the 
shoulders over the neck of the gown. The last one I made had about two 
yards of lace, possibly a bit more - I could measure if you need.

Suzi




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>>So, six pounds for enough lace for a "handkercher?"  Anyone know how large 
>>this item must be?
>
> Possibly what we now sometimes call a fichu, folded double and worn on the 
> shoulders over the neck of the gown. The last one I made had about two 
> yards of lace, possibly a bit more - I could measure if you need.
>
> Suzi
>

I thought that was a kercher/kerchief. A Handkercher could possibly be 
smaller, similar to the Handkerchief.

Glenda. 


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> Has anyone here in the US seen that silly Karo commercial, 'Thou makest
> good pie'? They have the housewife dressed up in some sort of
> pseudo-pilgrim getup with buckle shoes and a crochet shawl and a cap.
> I'm trying to figure out those sleeves. They seem to have a large
> pleated puff from elbow to wrist, but since the dress is black I can't
> see it clearly. Can anyone identify the time period (if any) for that
> sleeve style?

I've only seen it once, but the dress looked like 1830's to me.  They
obviously pulled a bunch of costume pieces from some rental stock.
Basically, they paid no  more attention to costume accuracy than they did to
the language. It's a cute commercial, nonetheless.

Margo


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Suzi Clarke wrote:
> At 07:38 15/11/2004 -0700, you wrote:
> 
>> Hi, Liz! I just purely adore this kind of Italian clothing, and I've 
>> always seriously lusted after this particular dress, even as I grumble 
>> about trying to find a match for the brocades! <g>

Thank you Brigitte, Sue, De and Suzi! - that 'Visitation' painting is 
exactly what I was remembering in my (packed) art books. Now I can sleep 
nights :)

liz

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Subject: Re: [h-cost] More 1661 laces continued
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----- Original Message -----
> >>So, six pounds for enough lace for a "handkercher?"  Anyone know how large 
> >>this item must be?
> >
> > Possibly what we now sometimes call a fichu, folded double and worn on the 
> > shoulders over the neck of the gown. The last one I made had about two 
> > yards of lace, possibly a bit more - I could measure if you need.
> >
> > Suzi
> >
> 
> I thought that was a kercher/kerchief. A Handkercher could possibly be 
> smaller, similar to the Handkerchief.
> 
> Glenda. 

During the 16th century, hankercher (and spelling variations) do mean handkerchief, just as the kercher=kerchief.  So, it is logical that they still mean something similar.  I figure about a yard of lace might be a guesstimate at how much lace would be needed for a handkerchief.

cheers,
Danielle
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Danielle Nunn-Weinberg wrote:

> During the 16th century, hankercher (and spelling variations) do mean handkerchief, just as the kercher=kerchief.  So, it is logical that they still mean something similar.  I figure about a yard of lace might be a guesstimate at how much lace would be needed for a handkerchief.

On the other hand, he says his wife was "in the handkercher" that the 
lace decorated.  So that says she was wearing it, rather than having it 
about her person like we'd have a handkerchief.

I'm thinking maybe a shawl or some sort of special head-drape? 
Something tucked in the decolletage?  Somewhere the lace would be obvious.

--
Cynthia Virtue and/or Cynthia du Pre Argent

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longer applies to US actions.  -- Alberto R. Gonzales, memo to the 
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 --- Cynthia Virtue <cvirtue+dated+1116152806.1250eb@thibault.org> wrote: 

> I'm thinking maybe a shawl or some sort of special head-drape? 
> Something tucked in the decolletage?  Somewhere the lace would be obvious.

As for headwear/neckwear, I put a page up with dozens of details from paintings
of the period in question, where I more or less talked to myself while
analysing the images, thus the informal language:

http://www.kipar.org/baroque-costumes/costumes_female_focus.html

Nicole


		
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Considering the expensive price of the lace you also must have in mind that 
lace for such a kerchief could have taken the lace maker a year or more to 
make, and the fine threads was very expensive. Some linen threads were so 
fine that they had to be handspun in caves because of the humidity.
The danish lace industry at Tønder imported the fine threads from Brabant. 
The thread from there was very very expensive but of the finest quality.
The kerchief linen also could be a very fine holland lawn wich also had many 
many threads wowen into it.

Bjarne


----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1116152806.1250eb@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 16, 2004 11:30 AM
Subject: Re: [h-cost] More 1661 laces continued


> Danielle Nunn-Weinberg wrote:
>
>> During the 16th century, hankercher (and spelling variations) do mean 
>> handkerchief, just as the kercher=kerchief.  So, it is logical that they 
>> still mean something similar.  I figure about a yard of lace might be a 
>> guesstimate at how much lace would be needed for a handkerchief.
>
> On the other hand, he says his wife was "in the handkercher" that the lace 
> decorated.  So that says she was wearing it, rather than having it about 
> her person like we'd have a handkerchief.
>
> I'm thinking maybe a shawl or some sort of special head-drape? Something 
> tucked in the decolletage?  Somewhere the lace would be obvious.
>
> --
> Cynthia Virtue and/or Cynthia du Pre Argent
>
> The Geneva Convention's limitations on treatment of enemy prisoners no 
> longer applies to US actions.  -- Alberto R. Gonzales, memo to the 
> President.
> _______________________________________________
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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] More 1661 laces continued
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At 10:50 16/11/2004 +0000, you wrote:
>  --- Cynthia Virtue <cvirtue+dated+1116152806.1250eb@thibault.org> wrote:
>
> > I'm thinking maybe a shawl or some sort of special head-drape?
> > Something tucked in the decolletage?  Somewhere the lace would be obvious.
>
>As for headwear/neckwear, I put a page up with dozens of details from 
>paintings
>of the period in question, where I more or less talked to myself while
>analysing the images, thus the informal language:
>
>http://www.kipar.org/baroque-costumes/costumes_female_focus.html


Many of the images on this page 
http://alpha.furman.edu/~kgossman/history/cavalier/images.htm show what I 
would call a "(hand)kerchief", particularly the lady in black with the 
honeysuckle embroidered petticoat,Hester Tradescant. This is what sprang to 
my mind with the original description from Cynthia Virtue.

Suzi


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Kate Bunting
Library, University of Derby

>>> suzi@suziclarke.co.uk 16/11/2004 12:23:29 >>>

>Many of the images on this page 
>http://alpha.furman.edu/~kgossman/history/cavalier/images.htm >show
what I would call a "(hand)kerchief", particularly the lady in black
>with the honeysuckle embroidered petticoat,Hester Tradescant. This >is
what sprang to my mind with the original description from Cynthia
>Virtue.

I wear one similar to Hester Tradescant's, though I call mine a
neckerchief. It has about 2 1/2 - 3 yards of simple lace.

(PS I believe the derivation of "kerchief" is from the French
"couvre-chef", a head-covering.)



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At 13:17 16/11/2004 +0000, you wrote:


>Kate Bunting
>Library, University of Derby
>
> >>> suzi@suziclarke.co.uk 16/11/2004 12:23:29 >>>
>
> >Many of the images on this page
> >http://alpha.furman.edu/~kgossman/history/cavalier/images.htm >show
>what I would call a "(hand)kerchief", particularly the lady in black
> >with the honeysuckle embroidered petticoat,Hester Tradescant. This >is
>what sprang to my mind with the original description from Cynthia
> >Virtue.
>
>I wear one similar to Hester Tradescant's, though I call mine a
>neckerchief. It has about 2 1/2 - 3 yards of simple lace.
>
>(PS I believe the derivation of "kerchief" is from the French
>"couvre-chef", a head-covering.)



I too made one based on Hester Tradescant, and mine took between 2 and 2 
1/2 metres of 1 1/2 in ch wide lace. I sewed it on separately to each curve 
so the "right " side showed when folded. (It is modern lace and has a front 
and back - huh! Nearest I could find - in JoAnn's of all places in Orlando, 
and I live in London! Talk about a busman's holiday!)

Suzi


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Bjarne wrote:

> Considering the expensive price of the lace you also must have in mind that
> lace for such a kerchief could have taken the lace maker a year or more to
> make, and the fine threads was very expensive. Some linen threads were so
> fine that they had to be handspun in caves because of the humidity.
> The danish lace industry at Tønder imported the fine threads from Brabant.
> The thread from there was very very expensive but of the finest quality.
> The kerchief linen also could be a very fine holland lawn wich also had many
> many threads wowen into it.

Handspun in caves? In CAVES? Are you sure about that? That sounds like a
myth, to me.

Gail Finke


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Dear Gail,
I have read this several places in books about lace. The thread is so thin, 
that it would have ben nescesary to have a very high humidity in the air to 
make it. Unless the threads would break.
Dont know if the books are wrong, but i surely have read this.

Bjarne


----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Tuesday, November 16, 2004 3:56 PM
Subject: [h-cost] lace


> Bjarne wrote:
>
>> Considering the expensive price of the lace you also must have in mind 
>> that
>> lace for such a kerchief could have taken the lace maker a year or more 
>> to
>> make, and the fine threads was very expensive. Some linen threads were so
>> fine that they had to be handspun in caves because of the humidity.
>> The danish lace industry at Tønder imported the fine threads from 
>> Brabant.
>> The thread from there was very very expensive but of the finest quality.
>> The kerchief linen also could be a very fine holland lawn wich also had 
>> many
>> many threads wowen into it.
>
> Handspun in caves? In CAVES? Are you sure about that? That sounds like a
> myth, to me.
>
> Gail Finke
>
>
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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] lace
Date: Tue, 16 Nov 2004 18:30:48 +0100
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 16, 2004 4:27 PM
Subject: Re: [h-cost] lace


> Dear Gail,
> I have read this several places in books about lace. The thread is so 
> thin, that it would have ben nescesary to have a very high humidity in the 
> air to make it. Unless the threads would break.
> Dont know if the books are wrong, but i surely have read this.


I also have to add, that i have misplased this thin thread. It was not used 
in 17th century, what i spoke of was 18th century laces.
17.th century laces used a coarser thread than 18th century.
I have just read a little about prices on laces to compare.
The year 1790 the lace mechands had about 1500 lace workers each. In all 
there were 12000 lace workers. The wages was about 12 - 24 skilling each 
week. Maximum 32 skilling. In 50 weeks a year it gives an income of a year 
to 12,5 rigsdaler and a whole to 150.000 rigsdaler to 12000 lace workers and 
25% to the thread.
In 1780 the cost of a calf was 7,5 rigsdaler, a ham 80 skilling, a pound of 
butter 8 skilling, a pot of snaps 9 skilling wheat floor 28 skilling a pound 
of meat 2,5 skillinga pound of coffe 12 skilling a pound of suggar 2 
skilling and tobacco 5 skilling.
So they must have been starving poor souls.
They started at a lace school in the age of 6 years old and they studyed 
there in 6 year. School started at 6 o clock and ended at 6 - 8 o clock in 
the evening only interrupted by eating breaks.
Imagine to sit from early morning to late night over the pillow all the time 
and then earn nearly nothing.
My sources comes from a book by Sigurd Schoubye: The lace Industry at the 
Tønder Area.

Bjarne 


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Subject: [h-cost] Byzantine skaramangion
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Hello,
Does anyone have an image of a Byzantine skaramangion?  Thanks!

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

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy

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From h-costume-bounces@indra.com  Tue Nov 16 14:24:07 2004
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Subject: [h-cost] Cloak and Cape question
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Can anyone tell me when cloaks and capes began to be patterned with separate
front and back pieces, with seams shaped to the shoulders connecting them,
rather than as full or partial circles or rectangles gathered into the neck?
I'm guessing late 18th-early 19th centuries, but haven't really looked into
it yet.  I'd love to find evidence that it was earlier.

Margo

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Subject: [h-cost] fine linen threads need moisture
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On a similar note at the Irish Linen Centre in Lisburn, Co. Antrim,  Ireland
(if you happen to be in the north of Ireland that museum is definitely worth
a stop) they mentioned that the linen weavers would have had a bare earth
floor in their cottages to keep things moist so the threads would not
break - it seemed a little fantastic to me as there is hardly a place in
Ireland that is not moist!  They also said the huge looms would take up
almost the entire cottage but that the weavers were proud of that and did
not attempt to house the loom anywhere other than the main rooms of the
cottage.

I didn't get any literature or references on this but it definitely ties in
with Bjarne's statements about keeping the linen threads stronger with
moisture.
> ------------------------------
>

> Date: Tue, 16 Nov 2004 09:56:40 -0500
> Bjarne wrote:
>
. Some linen threads were so
> > fine that they had to be handspun in caves because of the humidity.
>

> Date: Tue, 16 Nov 2004 16:27:09 +0100
> From: "Bjarne og Leif Drews"

> I have read this several places in books about lace. The thread is so
thin,
> that it would have ben nescesary to have a very high humidity in the air
to
> make it. Unless the threads would break.




>
>
> End of h-costume Digest, Vol 3, Issue 903
> *****************************************
>

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] More 1661 laces continued
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Cynthia Virtue wrote:

> Danielle Nunn-Weinberg wrote:
>
>> During the 16th century, hankercher (and spelling variations) do mean 
>> handkerchief, just as the kercher=kerchief.  So, it is logical that 
>> they still mean something similar.  I figure about a yard of lace 
>> might be a guesstimate at how much lace would be needed for a 
>> handkerchief.
>
>
> On the other hand, he says his wife was "in the handkercher" that the 
> lace decorated.  So that says she was wearing it, rather than having 
> it about her person like we'd have a handkerchief.
>
> I'm thinking maybe a shawl or some sort of special head-drape? 
> Something tucked in the decolletage?  Somewhere the lace would be 
> obvious.
>

I believe what he's talking about is the large, square, lace-trimmed 
piece of fabric that some women wore in place of a  partlet around this 
time.
There are a number of examples shown on this page 
http://alpha.furman.edu/~kgossman/history/cavalier/images.htm. 

I guess it would take 2 yards or so of lace to trim such a thing. 



-- 
Adele de Maisieres

-----------------------------
Quot homines, tot sententiae.
----------------------------- 

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Cloak and Cape question
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>Can anyone tell me when cloaks and capes began to be patterned with separate
>front and back pieces, with seams shaped to the shoulders connecting them,
>rather than as full or partial circles or rectangles gathered into the neck?
>I'm guessing late 18th-early 19th centuries, but haven't really looked into
>it yet.  I'd love to find evidence that it was earlier.

Look at the cut of the ones in Janet Arnold?

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

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At 11:14 16/12/2004 -0800, you wrote:
>Can anyone tell me when cloaks and capes began to be patterned with separate
>front and back pieces, with seams shaped to the shoulders connecting them,
>rather than as full or partial circles or rectangles gathered into the neck?
>I'm guessing late 18th-early 19th centuries, but haven't really looked into
>it yet.  I'd love to find evidence that it was earlier.


Jean Hunnisett, in "Period Costume for Stage and Screen Outer Garments Book 
1 Cloaks, Capes etc" (love the snappy  title!!) patterns  a French 
Provincial cloak dated c 1780-90 which has a separate front and back piece. 
There is a similar cloak in Los Angeles County Museum ("An Elegant Art"  - 
exhibition) and also in Kyoto - see "Fashion". I think she did not find 
earlier cloaks of this type. I think the cloaks in Janet Arnold, and in 
Alcega are pieced rather than in two distinct pattern pieces. There are Red 
Riding Hood type cloaks in Manchester at Platt Hall, the Museum of London, 
and I believe at Colonial Williamsburg, but I think they are the part of a 
circle, shaped at the neck type.

Suzi


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> Well this is the gown I was dyeing materials for that I just mentioned in
a
> reply to the dye thread:
>
> http://costumes.glittersweet.com/sca/valois.htm
>
> A very very hard learning curve for most of it, now that I've mostly
> finished the gown (aka the "I've been eaten alive and only my head is
> showing" gown) I'm quite happy and content to pursue further late 16thC
> garb.
>
> And the problems with the undergarments (the verdugados is refered to the
> verdu-poop-os for a reason...) have just taught me to follow my gut
> instincts more.
>
> And yay, now to get the documentation uploaded;)
>
> michaela
> http://costumes.glittersweet.com
>

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One last try.....


> Well this is the gown I was dyeing materials for that I just mentioned in
a
> reply to the dye thread:
>
> http://costumes.glittersweet.com/sca/valois.htm
>
> A very very hard learning curve for most of it, now that I've mostly
> finished the gown (aka the "I've been eaten alive and only my head is
> showing" gown) I'm quite happy and content to pursue further late 16thC
> garb.
>
> And the problems with the undergarments (the verdugados is refered to the
> verdu-poop-os for a reason...) have just taught me to follow my gut
> instincts more.
>
> And yay, now to get the documentation uploaded;)
>
> michaela
> http://costumes.glittersweet.com
>

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Finally getting mail through!

> > Diluted dark dyes will dye light quite nicely, but a couple of tips: 1)
be
> > SURE to get the fabric soaking wet in plain water before you put it in
the
> > dye bath (or in salt water, if it's the sort of fabric that takes a
while
> to
> > get really wet and if salt is part of the dye recipe, like with RIT) and
> 2)
> > be sure that the dye bath is very diluted and is completely mixed (no
> powder
> > residue anywhere in it).

> Absolutely:)
>
> I recently had "fun" dyeing some grey "double organza" purple, and in the
> process nearly ruined what I needed, but got a lovely pale lilac/lavender
> shade for the rest of the silk simply by dipping the fabric swirling it
> around and taking it out within about 40seconds. I repeated the process
and
> only managed a tiny step darker, which was fine as I really didn't want
the
> fabric to be too dark;)
>
> Oh and I eventually got a resonably even dark purple (it was a cold dye
> hense all the issues, I couldn't continually move the fabric around) by
> making up the same amount of dry dye into 1/20 the amount of water
normally
> used and then painting it on the fabric.
>
> I really should post the whole ensemble to the list as I have shown it
> elsewhere;)
>
> michaela de bruce
> http://costumes.glittersweet.com
>

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Cloak and Cape question
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At 11:14 AM 12/16/2004 -0800, you wrote:
>Can anyone tell me when cloaks and capes began to be patterned with separate
>front and back pieces, with seams shaped to the shoulders connecting them,
>rather than as full or partial circles or rectangles gathered into the neck?
>I'm guessing late 18th-early 19th centuries, but haven't really looked into
>it yet.  I'd love to find evidence that it was earlier.
>
>Margo


Hi Margo,

I think it all depends on what you define as a cloak or cape. If you mean 
as an overgarment in general, possibly yes.

I have found in Alcega's Pattern Book (1589) an article of clothing that is 
worn over a "chapter mantle for Knight Commanders of the Order or St. 
John", which is called "St. John's skin" or "camel skin". As an overgarment 
it is rectangular, has no collar but is bound at the neck with a narrow 
band, and has definite shoulder seams, and very long, tapering over 
'sleeves' that hang, but are not full sleeves sewn together types.

The spanish surcoats have definite shoulder seams, but they also may have 
sleeves, and hence aren't very cloak-like

If you don't mean as a general overgarment, than it appears not during the 
16th century, at least not in this book, as the definite "cloaks" listed 
are all circular, with seams up the back side, and left open down the 
center front.

And while my Arnold book is still MIA somewhere in this house, I recall the 
garments there are circular in shape. I really have to get cracking on 
re-organizing my place now that faires are over, and find that book.


Kimiko Small
Owner ~ DreamTime Studios
http://www.dreamtime-studios.com
Fresno, CA, USA

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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fine linen threads need moisture
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>they mentioned that the linen weavers would have had a bare earth
>floor in their cottages to keep things moist so the threads would not
>break - it seemed a little fantastic to me as there is hardly a place in
>Ireland that is not moist!

And many cottages not belonging to any kind of weavers also had dirt floors.


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

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Diana Habra wrote:


> So does anyone out there know where I can get a fabric dye that will make
> something sage green and won't fade that quickly?


If you will like to stick with Rit try there Rit Color Chart.

http://www.ritdye.com/color_recipes.asp

For Sage Green: 1 pkg Pearl Grey + 1 Tbsp Sea Foam Green

Your humble and obediant servant,
David S Mallinak


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In Bjarne's defense when you weave linen thread into cloth you must keep it damp, either via spray bottle or laying a damp towel on it. If not, it will spring out every where, nearly trying to "crawl" off the loom!

                    Angelique


			
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Subject: [h-cost] Anyone know about this book?
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Plucked, Shaved & Braided: Medieval and Renaissance Beauty and Grooming
Practices 1000-1600
by Daniela Turudich, Laurie J. Welch

It's from Streamline Press, supposedly out next month, but Amazon is
treating it like it's already out, available in 4-6 weeks.  Amazon is also
adding a surcharge because it's obscure:
http://www.amazon.com/exec/obidos/tg/detail/-/193006408X/102-4662449-5096938

I found it on a web search at lots of other sales sites. However, they're
all saying it came out in Feb 2004, and I think that was an earlier
release date (but was not met). (In fact, it was originally promised in
June 2003, IIRC.)

Assuming it exists, or is about to, I'd like to know if it's anything
close to a scholarly book. The description on the Amazon page makes it
sound awfully fluffy and popularized. Also, the first author has a long
record of books on 20th c. vintage fashions, not the credentials I'd look
for in a solid book about medieval/renaissance customs. However, the
second author is billed as "an expert in the life and culture of medieval
and Renaissance Europe." That could mean anything, of course. I suspect it
may be simply a lot of repetition of half-truths and urban legends from
secondary sources, but I don't want to write it off if it's genuinely well
done.

I've tried searching on Streamline Press, without success. It's possible
they don't have a website, of course.

Does anyone (maybe Fran or Janet) know anything about the publisher? I
might want to order a review copy if I can find out whether this is a book
of scholarly interest.

--Robin

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Subject: Re: [h-cost] fine linen threads need moisture
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> (snip) they mentioned that the linen weavers would have had a bare earth
> floor in their cottages to keep things moist so the threads would not
> break (snip)

They kept the floors unpaved because they would pour water on the earth
floor - to maintain the moist atmosphere necessary for weaving fine linen.

Linda Walton,
(in High Wycombe, Buckinghamshire, U.K.).

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Anyone know about this book?
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At 01:47 17/11/2004 -0600, you wrote:

>Plucked, Shaved & Braided: Medieval and Renaissance Beauty and Grooming
>Practices 1000-1600
>by Daniela Turudich, Laurie J. Welch
>
>It's from Streamline Press, supposedly out next month, but Amazon is
>treating it like it's already out, available in 4-6 weeks.  Amazon is also
>adding a surcharge because it's obscure:
>http://www.amazon.com/exec/obidos/tg/detail/-/193006408X/102-4662449-5096938


I don't know anything about this book, but Amazon is also taking pre-orders 
for a book by a lady here, which may be of interest. I quote her own 
description of it.

"'The Artifice of Beauty, a history and practical guide to perfumes and 
cosmetics' and it attempts to trace the evolution of cosmetic adornment 
from prehistory to the twentieth century, by time period so its really 
useful for re-enactors, with lots of illustrative archaeological examples 
and pictures and absolutely tons of primary references. Plus, the second 
part of the book goes into detail about ingredients both from a historical 
perspective but also from the point of view of a modern person wanting to 
recreate the smell or effect of an early cosmetic but who may have problems 
with either sourcing the original or with safety details. A number of key 
recipes are modernised to allow safe experimentation with historic cosmetics.

Its intended as both a reference book but also a manual of cosmetics and 
perfumes that can be made and used by re-enactors as well as a nice shiny 
well illustrated book for those with a general interest. I hope it will be 
particularly useful for those who specialise in costume and appearance and 
need good solid info on just what cosmetics and perfumes were worn and 
details of what they felt like or smelt like."

Her name is Sally Pointer. She has a web site for anyone who is interested. 
www.sallypointer.com

Suzi

(BTW I am not related, nor do I get commission, but I have one or two of 
her costume leaflets, and I think she knows her stuff!)

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Subject: Re: [h-cost] Latest gown, 1560s Spanish
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Dear Michaela,
What a wonderfull gown you have made here. Whauw such lovely look.
Congratulations, and thanks for sharing.........


Bjarne


----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: <h-costume@indra.com>
Sent: Wednesday, November 17, 2004 3:07 AM
Subject: [h-cost] Latest gown, 1560s Spanish


> One last try.....
>
>
>> Well this is the gown I was dyeing materials for that I just mentioned in
> a
>> reply to the dye thread:
>>
>> http://costumes.glittersweet.com/sca/valois.htm
>>
>> A very very hard learning curve for most of it, now that I've mostly
>> finished the gown (aka the "I've been eaten alive and only my head is
>> showing" gown) I'm quite happy and content to pursue further late 16thC
>> garb.
>>
>> And the problems with the undergarments (the verdugados is refered to the
>> verdu-poop-os for a reason...) have just taught me to follow my gut
>> instincts more.
>>
>> And yay, now to get the documentation uploaded;)
>>
>> michaela
>> http://costumes.glittersweet.com
>>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: [h-cost] Fw: Latest gown, 1560s Spanish
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----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: <h-costume@indra.com>
Sent: Tuesday, November 16, 2004 8:44 PM
Subject: [h-cost] Fw: Latest gown, 1560s Spanish


>
>
>> Well this is the gown I was dyeing materials for that I just mentioned in
> a
>> reply to the dye thread:
>>
>> http://costumes.glittersweet.com/sca/valois.htm
>>
>> A very very hard learning curve for most of it, now that I've mostly
>> finished the gown (aka the "I've been eaten alive and only my head is
>> showing" gown) I'm quite happy and content to pursue further late 16thC
>> garb.

It's exquisite, Michaela! Wow!

Dianne
>>
>> And the problems with the 


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Subject: Re: [h-cost] Anyone know about this book?
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I ordered this book over two years ago, they kept changing the release date on me, and in the end, cancelled my order.  I have tried contacting the publisher, but have never received a response.  I hope someone has better luck, than I did, I just don't have time to do all the follow up that seemed to be required to get a copy.

Kit

>At 01:47 17/11/2004 -0600, you wrote:
>
>Plucked, Shaved & Braided: Medieval and Renaissance Beauty and Grooming
>>Practices 1000-1600 by Daniela Turudich, Laurie J. Welch
>>
>>It's from Streamline Press, supposedly out next month, but Amazon is
>>treating it like it's already out, available in 4-6 weeks.  Amazon is also
>>adding a surcharge because it's obscure:
>>http://www.amazon.com/exec/obidos/tg/detail/-/193006408X/102-4662449-5096938
>

-- 
Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole

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From h-costume-bounces@indra.com  Wed Nov 17 11:53:46 2004
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From: "Jennifer / Guenievre" <generys@blazemail.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Anyone know about this book?
Date: Wed, 17 Nov 2004 11:56:52 -0500
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Status: RO

I contacted Streamline about this book a few months ago, this is the
response I got. Things may have changed since then.

> Hello Jennifer,
> 
> Unfortunately, the news on all Streamline titles is not good.  
> Streamline has declared all in-print titles out of print (after 
> lengthy delays in reprint); all forthcoming titles, including this 
> one, have been cancelled after repeated delays in their print 
> schedules.  "Plucked, Shaved, & Braided" does not exist in book form.
> 
> This news is still relatively new to us, so we have not yet updated 
> our website.  We hope to have accurate listings soon.
> 
> Let me know if you have any other questions, Robin Independent 
> Publishers Group
> 814 North Franklin Street
> Chicago, Illinois  60610
> 800.888.4741  -ph
> 312.337.5985  -fx
> www.ipgbook.com
>


Guenievre


> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Kitsune242@aol.com
> Sent: Wednesday, November 17, 2004 11:32 AM
> To: Historical Costume
> Subject: Re: [h-cost] Anyone know about this book?
> 
> I ordered this book over two years ago, they kept changing the release
> date on me, and in the end, cancelled my order.  I have tried contacting
> the publisher, but have never received a response.  I hope someone has
> better luck, than I did, I just don't have time to do all the follow up
> that seemed to be required to get a copy.
> 
> Kit
> 
> >At 01:47 17/11/2004 -0600, you wrote:
> >
> >Plucked, Shaved & Braided: Medieval and Renaissance Beauty and Grooming
> >>Practices 1000-1600 by Daniela Turudich, Laurie J. Welch
> >>
> >>It's from Streamline Press, supposedly out next month, but Amazon is
> >>treating it like it's already out, available in 4-6 weeks.  Amazon is
> also
> >>adding a surcharge because it's obscure:
> >>http://www.amazon.com/exec/obidos/tg/detail/-/193006408X/102-4662449-
> 5096938
> >
> 
> --
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
> Kenneth Cole
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: Re: [h-cost] Anyone know about this book?
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On Wed, 17 Nov 2004 Kitsune242@aol.com wrote:

> I ordered this book over two years ago, they kept changing the release
> date on me, and in the end, cancelled my order.  I have tried
> contacting the publisher, but have never received a response.  I hope
> someone has better luck, than I did, I just don't have time to do all
> the follow up that seemed to be required to get a copy.

Hmm. I did find a website for Streamline Press on Google, but it wasn't
there when I went. Your experience suggests that they've just folded.

--Robin

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Plucked, Shaved & Braided: Medieval and Renaissance Beauty and Grooming
Practices 1000-1600
by Daniela Turudich, Laurie J. Welch

I've been ordering this through my wholesale distributor for months now and and they put it on backorder and eventually tell me that it's not yet published.  If it ever gets published, I will carry it (without  surcharge).

Janet

Janet Davis
Castle Furnishings
www.medievalbookstore.com
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From: "Five Rivers" <lgsteph@wightman.ca>
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Subject: [h-cost] revised Laughing Moon pattern
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    Just thought I'd let people know the new and improved revised Laughing
Moon Ladies Victorian Corset Cover, petticoat and bustle pattern is now
available. Looks like yet another fabulous pattern, historically accurate,
great size range, fabulous engineering and sewing instructions that are
superb.

    You can view the pattern at: http://www.5rivers.org/en-gb/p_905.html

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

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Date: Wed, 17 Nov 2004 12:42:39 -0800
Subject: Re: [h-cost] revised Laughing Moon pattern
From: Lynn Downward <ldownward@chori.org>
To: h costume <h-costume@indra.com>
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So how is it different from the original pattern Laughing Moon produced?

I have used and love the Laughing Moon Mercantile Co. patterns. I'm working
on the men's vest now and plan to start the men's frock coat early in the
new year - after all the Victorian and German stuff is done.

LynnD


> From: Five Rivers <lgsteph@wightman.ca>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Wed, 17 Nov 2004 15:05:37 -0500
> To: <h-costume@indra.com>
> Subject: [h-cost] revised Laughing Moon pattern
> 
>     Just thought I'd let people know the new and improved revised Laughing
> Moon Ladies Victorian Corset Cover, petticoat and bustle pattern is now
> available. Looks like yet another fabulous pattern, historically accurate,
> great size range, fabulous engineering and sewing instructions that are
> superb.
> 
>     You can view the pattern at: http://www.5rivers.org/en-gb/p_905.html
> 
> Regards
> Lorina
> Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
> fine hand-sewn embroidered garments, historical sewing patterns & embroidery
> supplies
> (519) 799-5577, http://www.5rivers.org  email: info@5rivers.org
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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> So how is it different from the original pattern Laughing Moon produced?

    Deb Peterson has added a corset cover to the pattern, reworked and
improved the engineering on the bustle, and created three lengths for the
petticoat.

    I'd love to launch into the men's vest and frock coat for Gary, for the
demonstrations we're often hired to do. Somewhere I'm determined to find the
time to do this. Let me know how yours turns out.

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

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From h-costume-bounces@indra.com  Thu Nov 18 22:41:51 2004
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You're most welcome, Bjarne. Sorry I haven't gotten
back to you sooner - I am frantically praparing my
documentation for competition this Saturday. If you
have any questions, as of Monday, I'll have loads of
time to answer them. :-)

Kathy

> Dear Kathy,
> A million thanks for your fine site. It will be a
> great resource and 
> inspiration for me.
> This was a generous gesture.............
> 
> Bjarne


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sorry I haven't had the time to thank everyone that
offered advice on that voided velvet I bought. Your
help was most appreciated. Now... I just have to
figure out what to make with it.... ;-)

Kathy

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Subject: [h-cost] Question about Jewellery Vendor
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Does anyone on the list know whether Peter James, who put up a website selling 
reproduction Viking and Saxon jewelry, is still selling such items?  I've 
visited the web site and tried to contact him at the email address listed 
there, only to get a "no-such user" type error message.  Any information 
(including a response that he no longer sells reproduction jewelry) would be 
much appreciated.  Thanks!


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: [h-cost] Regency era boy's skeleton suit
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Does anyone know where I could find some good pictures of boys' skeleton 
suits from the Regency era online?


                   .
                 /'
                //
            .  //
            |\//7
           /' " \
          .   . .
          | (    \     '._
          |  '._  '    '. '
          /    \'-'_---. ) )
         .              :.'
         |               \
         | .    .   .     .
         ' .    |  |      |
          \^   /_-':     /
          / | |    '\  .'
         / /| |     \\  |
         \ \( )     // /
          \ | |    // /
           L! !   // /   Joan Broneske
            [_]  L[_|    unicorn@surewest.net


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Subject: [h-cost] Boys Skeleton suit
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This site has some amazing images.  The skeleton suit shown is a little 
later that the Regency era.  There is a lovely painting showing the "tunic 
style of boys transitional clothing:

http://dept.kent.edu/museum/exhibit/kids/kids.html

There is a book entitled "Children's Clothes" by Clair Rose, published by 
Drama Book Publishers in 1989, which has some very helpful information and 
images.  There is also a wonderful image by Ingres "Portrait de Femme" of a 
mother and son.  The boy is wearing just what you are looking for.

Dawn 


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From h-costume-bounces@indra.com  Fri Nov 19 13:31:32 2004
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Subject: Re: [h-cost] Boys Skeleton suit
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Thanks!

                   .
                 /'
                //
            .  //
            |\//7
           /' " \
          .   . .
          | (    \     '._
          |  '._  '    '. '
          /    \'-'_---. ) )
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           L! !   // /   Joan Broneske
            [_]  L[_|    unicorn@surewest.net

----- Original Message ----- 
From: "Dawn Luckham" <dluckham@sympatico.ca>
To: <h-costume@net.indra.com>
Sent: Friday, November 19, 2004 9:18 AM
Subject: [h-cost] Boys Skeleton suit


> This site has some amazing images.  The skeleton suit shown is a little 
> later that the Regency era.  There is a lovely painting showing the "tunic 
> style of boys transitional clothing:
>
> http://dept.kent.edu/museum/exhibit/kids/kids.html
>
> There is a book entitled "Children's Clothes" by Clair Rose, published by 
> Drama Book Publishers in 1989, which has some very helpful information and 
> images.  There is also a wonderful image by Ingres "Portrait de Femme" of 
> a mother and son.  The boy is wearing just what you are looking for.
>
> Dawn
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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	<003801c4ce65$c1e007c0$6601a8c0@Cyhiraeth>
Subject: Re: [h-cost] Boys Skeleton suit
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Hi.
Could someone please enlighten me. I have no clue what so eaver what a 
skelleton suit is.

Bjarne


----- Original Message ----- 
From: "Joan Broneske" <unicorn@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 19, 2004 7:29 PM
Subject: Re: [h-cost] Boys Skeleton suit


> Thanks!
>
>                   .
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>                //
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>         ' .    |  |      |
>          \^   /_-':     /
>          / | |    '\  .'
>         / /| |     \\  |
>         \ \( )     // /
>          \ | |    // /
>           L! !   // /   Joan Broneske
>            [_]  L[_|    unicorn@surewest.net
>
> ----- Original Message ----- 
> From: "Dawn Luckham" <dluckham@sympatico.ca>
> To: <h-costume@net.indra.com>
> Sent: Friday, November 19, 2004 9:18 AM
> Subject: [h-cost] Boys Skeleton suit
>
>
>> This site has some amazing images.  The skeleton suit shown is a little 
>> later that the Regency era.  There is a lovely painting showing the 
>> "tunic style of boys transitional clothing:
>>
>> http://dept.kent.edu/museum/exhibit/kids/kids.html
>>
>> There is a book entitled "Children's Clothes" by Clair Rose, published by 
>> Drama Book Publishers in 1989, which has some very helpful information 
>> and images.  There is also a wonderful image by Ingres "Portrait de 
>> Femme" of a mother and son.  The boy is wearing just what you are looking 
>> for.
>>
>> Dawn
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 


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Subject: Re: [h-cost] Boys Skeleton suit
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In a message dated 11/19/2004 2:25:46 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:
I have no clue what so eaver what a 
skelleton suit is.
A two piece suit for little boys--to wear after they are breeched--the jacket 
and pants would button together at the waist, giving a one-piece effect.  I 
guess this is where the name skeleton suit comes from.  A shirt was worn 
underneath--similar to a man's shirt but with a big floppy collar with a ruffle 
around the edge.

Ann Wass
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From h-costume-bounces@indra.com  Fri Nov 19 14:42:47 2004
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <a1.522ab4f5.2ecfa4ee@aol.com>
Subject: Re: [h-cost] Boys Skeleton suit
Date: Fri, 19 Nov 2004 20:41:49 +0100
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Oh, thanks for this.
Well i have a pattern of such a suit from 1780. A la matélot in blue satin 
with linning of white flonnel.
So email me privately, and i shall post the photo and the pattern.

Bjarne


----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Friday, November 19, 2004 8:35 PM
Subject: Re: [h-cost] Boys Skeleton suit


> In a message dated 11/19/2004 2:25:46 PM Eastern Standard Time,
> drewscph@post12.tele.dk writes:
> I have no clue what so eaver what a
> skelleton suit is.
> A two piece suit for little boys--to wear after they are breeched--the 
> jacket
> and pants would button together at the waist, giving a one-piece effect. 
> I
> guess this is where the name skeleton suit comes from.  A shirt was worn
> underneath--similar to a man's shirt but with a big floppy collar with a 
> ruffle
> around the edge.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: [h-cost] Free hoop wire??
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Greetings to the list.

I seem to remember a while ago that in response to a question regarding hoop 
wire, someone stated that she used a sort of metal strapping that she got 
from somewhere like Home Depot or Lowe's, used in the shipping of goods and 
given up by them freely.

I need to do a large hoop project as a favor for a friend with zero cash, so 
I am wondering if this might be something I'd like to try.  Could the person 
with the info please post again to the list or write me privately?

Many thanks in advance.

Richard in MI

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


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Date: Fri, 19 Nov 2004 19:57:43 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Boys Skeleton suit
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At 20:41 19/11/2004 +0100, you wrote:
>Oh, thanks for this.
>Well i have a pattern of such a suit from 1780. A la matélot in blue satin 
>with linning of white flonnel.
>So email me privately, and i shall post the photo and the pattern.
>
>Bjarne
>
>
>
>>In a message dated 11/19/2004 2:25:46 PM Eastern Standard Time,
>>drewscph@post12.tele.dk writes:
>>I have no clue what so eaver what a
>>skelleton suit is.
>>A two piece suit for little boys--to wear after they are breeched--the jacket
>>and pants would button together at the waist, giving a one-piece effect. I
>>guess this is where the name skeleton suit comes from.  A shirt was worn
>>underneath--similar to a man's shirt but with a big floppy collar with a 
>>ruffle
>>around the edge.


I believe Marie Antoinette "invented", or had made, the first skeleton 
suits, when she was going through her "rural" phase and wearing milkmaid 
dresses and the "chemise" dresses that became so popular at that time. 
Reminds me forcefully of the modern "babygro"!!







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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Free hoop wire??
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>I seem to remember a while ago that in response to a question regarding 
>hoop wire, someone stated that she used a sort of metal strapping that she 
>got from somewhere like Home Depot or Lowe's, used in the shipping of 
>goods and given up by them freely.

These are the bands bales of plywood are tied with.  These used to be 
metal, but now they're likely to be plastic.  Lumber sellers throw it away, 
so it can be yours for the asking.  Positive side - it's cheap.  Downside - 
metal ones are heavy and likely to be rusty.  Plastic ones aren't as 
strong, so there may need to be more hoops per skirt to do the job.  Also, 
these things don't come in nice long pieces, and may have joins in them.


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

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Date: Fri, 19 Nov 2004 15:06:53 -0600 (CST)
Subject: Re: [h-cost] Free hoop wire??
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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If you have a local armourer you can take the metal ones over to
them and have them treated for rust. There is a way that they treat
metal so that rust will not attack so quickly. If it works for
helms, it will work for hoops. :)

Chiara

Carolyn Kayta Barrows said:
>
>>I seem to remember a while ago that in response to a question
>> regarding
>>hoop wire, someone stated that she used a sort of metal strapping
>> that she
>>got from somewhere like Home Depot or Lowe's, used in the shipping
>> of
>>goods and given up by them freely.
>
> These are the bands bales of plywood are tied with.  These used to
> be
> metal, but now they're likely to be plastic.  Lumber sellers throw
> it away,
> so it can be yours for the asking.  Positive side - it's cheap.
> Downside -
> metal ones are heavy and likely to be rusty.  Plastic ones aren't as
> strong, so there may need to be more hoops per skirt to do the job.
> Also,
> these things don't come in nice long pieces, and may have joins in
> them.
>
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
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>             ((((   7 )))
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>
> _______________________________________________
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> h-costume@mail.indra.com
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>


Franchesca Havas
Phone: 214-977-7540
Cell: 214-923-9869
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Subject: Re: [h-cost] Free hoop wire??
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Richard wrote:

> I seem to remember a while ago that in response to a question regarding 
> hoop wire, someone stated that she used a sort of metal strapping that she 
> got from somewhere like Home Depot or Lowe's, used in the shipping of 
> goods and given up by them freely.


There's another alternative, which while not free, is very cheap.  I've been 
told it's a good alternative to hoop wire and you get about 25 feet of it 
for less than $3.  (That's what I paid for mine two winters ago.  For the 
plumbing.) The wire is flat, sturdy, and about 1/4" wide.

          -Helen/Aidan
            (Hey, cutie, got snow yet?) 


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From: "Five Rivers" <lgsteph@wightman.ca>
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    For those of you interested in things Polish, and things 16th century,
you might be interested in the two new Reconstructing History Patterns now
available:

http://www.5rivers.org/en-gb/dept_40.html

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

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	It's out! I just ordered mine from David Brown Books. I know this is 
something a few folks on this list have been waiting on as wel, so I 
thought I'd pass on the good news. If you pre-ordered, it shoudl be 
getting into the mail to you, I would think.   -Judy Mitchell

Woven into the Earth: Textile finds in Norse Greenland
by Else Ostergaard

256p, illus., (Aarhus University Press 2004)
ISBN 8772889357. Hardback. Publishers price US $49.95
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On Fri, 19 Nov 2004 17:25:39 -0700, Sylvia Rognstad <sylvia@ntw.net> wrote:
> What's breeching?  Is that like potty training?

Breeching is taking boy's out of dresses which they wore until they
were 5 (or even older sometimes) and putting them into "breeches" or
pants. Usually short ones and then at age 12 or so they could wear
long pants.
-- 
============================
http://stores.ebay.com/Kristalori
eBay store now open!! Effluvia and
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Subject: Re: [h-cost] Boys Skeleton suit
Date: Fri, 19 Nov 2004 17:25:39 -0700
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What's breeching?  Is that like potty training?

On Nov 19, 2004, at 12:35 PM, AnnBWass@aol.com wrote:

> In a message dated 11/19/2004 2:25:46 PM Eastern Standard Time,
> drewscph@post12.tele.dk writes:
> I have no clue what so eaver what a
> skelleton suit is.
> A two piece suit for little boys--to wear after they are breeched--the 
> jacket
> and pants would button together at the waist, giving a one-piece 
> effect.  I
> guess this is where the name skeleton suit comes from.  A shirt was 
> worn
> underneath--similar to a man's shirt but with a big floppy collar with 
> a ruffle
> around the edge.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>>What's breeching?  Is that like potty training?
> 
> 
> Breeching is taking boy's out of dresses which they wore until they
> were 5 (or even older sometimes) and putting them into "breeches" or
> pants. Usually short ones and then at age 12 or so they could wear
> long pants.

The assumption being that by that age yes, they were potty trained and 
no longer needed diapers (which could be changed quickly if they were 
wearing a dress).


Dawn


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Subject: Re: [h-cost] Boys Skeleton suit
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> > What's breeching?  Is that like potty training?

Very much like it.  The idea of skirts seems to be for easy access to the 
diaper-garments.

>Breeching is taking boy's out of dresses which they wore until they
>were 5 (or even older sometimes) and putting them into "breeches" or
>pants. Usually short ones and then at age 12 or so they could wear
>long pants.




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

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From: Jacqueline Johnson <jacquelinejbump@gmail.com>
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Subject: Re: [h-cost] Boys Skeleton suit
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On Fri, 19 Nov 2004 18:30:40 -0600, Dawn <dawn@reddawn.net> wrote:
> 
> >>What's breeching?  Is that like potty training?
> >
> >
> > Breeching is taking boy's out of dresses which they wore until they
> > were 5 (or even older sometimes) and putting them into "breeches" or
> > pants. Usually short ones and then at age 12 or so they could wear
> > long pants.
> 
> The assumption being that by that age yes, they were potty trained and
> no longer needed diapers (which could be changed quickly if they were
> wearing a dress).
> 
> Dawn

I dunno but if by age 5 they still needed a diaper they had more
problems than still being in a dress. I forget the exact routes but
the steps tended to be swaddling-long dresses-short
dresses-breeched-trousers.

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In a message dated 11/19/2004 7:31:43 PM Eastern Standard Time, 
dawn@reddawn.net writes:
Usually short ones and then at age 12 or so they could wear
> long pants.
Although I think the short pants is a later 19th century custom--another 
interesting thing to research!  Because the early 19th century skeleton suits (or, 
another alternative, short coat without tails and non-matching trousers) all 
have long pants.

Ann
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Greetings!

> It's out! I just ordered mine from David Brown Books. I know this is
> something a few folks on this list have been waiting on as wel, so I
> thought I'd pass on the good news. If you pre-ordered, it shoudl be
> getting into the mail to you, I would think.   -Judy Mitchell

In fact, I just checked my credit card, and it charged today.  I've had it
on order from David Brown since May of 2003.  Woohoo!

Susan

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Greetings!

> It's out! I just ordered mine from David Brown Books. I know this is
> something a few folks on this list have been waiting on as wel, so I
> thought I'd pass on the good news. If you pre-ordered, it shoudl be
> getting into the mail to you, I would think.   -Judy Mitchell

In fact, I just checked my credit card, and it charged today.  I've had it
on order from David Brown since May of 2003.  Woohoo!

Susan

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On Fri, 19 Nov 2004 20:38:40 EST, annbwass@aol.com <annbwass@aol.com> wrote:
> In a message dated 11/19/2004 7:31:43 PM Eastern Standard Time,
> dawn@reddawn.net writes:
> Usually short ones and then at age 12 or so they could wear
> > long pants.
> Although I think the short pants is a later 19th century custom--another
> interesting thing to research!  Because the early 19th century skeleton suits (or,
> another alternative, short coat without tails and non-matching trousers) all
> have long pants.
> 
> Ann

True and I should have said so. Short pants seem to be a post 1860
sort of boy's fashion. Although I seem to recall having seen it in
early forms such as knee breeches and the like being worn before the
graduation into what we'd see as more modern pants. And then there is
boy's sack suits and Eton jackets and the like. The late 1790's were a
real change for children's clothing.
-- 
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From h-costume-bounces@indra.com  Fri Nov 19 22:13:33 2004
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Date: Fri, 19 Nov 2004 19:12:40 -0800 (PST)
Subject: Re: [h-cost] Herjolfsness book
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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> 	It's out! I just ordered mine from David Brown Books. I know this is
> something a few folks on this list have been waiting on as wel, so I
> thought I'd pass on the good news. If you pre-ordered, it shoudl be
> getting into the mail to you, I would think.   -Judy Mitchell
>
> Woven into the Earth: Textile finds in Norse Greenland
> by Else Ostergaard
>
> 256p, illus., (Aarhus University Press 2004)
> ISBN 8772889357. Hardback. Publishers price US $49.95

Would you be willing to give the list a book review when it arrives?  I am
interested but would like to know more about it before I order.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Boys Skeleton suit
Date: Fri, 19 Nov 2004 23:05:37 -0500
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On Friday 19 November 2004 7:34 pm, Carolyn Kayta Barrows wrote:
> > > What's breeching?  Is that like potty training?
>
> Very much like it.  The idea of skirts seems to be for easy access to the
> diaper-garments.
>
> >Breeching is taking boy's out of dresses which they wore until they
> >were 5 (or even older sometimes) and putting them into "breeches" or
> >pants. Usually short ones and then at age 12 or so they could wear
> >long pants.

My impression of the practice is that it connoted more than ease of toilet 
training, since boys often were not breeched until long after they should 
have mastered toilet training.  It seems to have been an excuse to celebrate 
a giant step toward "becoming a man."


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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In a message dated 11/19/2004 10:51:11 PM Eastern Standard Time, 
cathy@thyrsus.com writes:
It seems to have been an excuse to celebrate 
a giant step toward "becoming a man."
And, if a family was wealthy and of the horsy sort, also the ago of a boy's 
first pony.
Ann Wass
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Boys Skeleton suit
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On Saturday 20 November 2004 9:43 am, AnnBWass@aol.com wrote:
> In a message dated 11/19/2004 10:51:11 PM Eastern Standard Time,
> cathy@thyrsus.com writes:
> It seems to have been an excuse to celebrate
> a giant step toward "becoming a man."

[Ann replied:]

> And, if a family was wealthy and of the horsy sort, also the ago of a boy's
> first pony.

Really?  Now that I didn't know.  Interesting.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Hi all,

I've been reading with great interest all of the Boy's Skeleton suit 
posts.  I'm interested though in the term "breeched" being used with the 
skeleton suit.  It has always been my understanding that the 'skeleton 
suit' along with the 'tunic suit' were transitional styles of clothing for 
the very young and did not quite classify as being "breeched".

The subject of convenience has been brought up as far as why little ones 
(both boys and girls) wore petticoats.  It was for changing nappies 
(diapers) with ease. Once a little boy was reliably potty trained, he could 
begin to wear transitional clothing.  From my research and reading, it 
seems that different time periods "breeched" their boys at different 
ages.  During the Victorian era there were periods where the "age of 
breeching" is quite high (5 or 6 yrs. even!).  On the other hand, during 
the Regency, little boys were put into breeches at an earlier age (maybe 3 
or 4).  The transitional styles were important particularly during the 
periods that a boy was breeched at an older age.  It must have been awkward 
to consider a 5 year old still in petticoats. (Queen Victoria worked around 
it by dressing her young lads in kilts for formal occasions.)

Up until this discussion, I had never considered that the transitional 
styles of tunic suit and skeleton suit as being officially in trousers or 
breeches.  These styles were not yet the clothing of a young man and I'm 
not sure that they actually qualify as being "breeched".  Transitional 
styles are still "baby clothes" in the minds of the parents who dressed 
their sons in them.

Just for interest and enjoyment, here are some pretty pictures:

This first one is a little boy still in a frock 1849.
http://content-dev.lib.washington.edu/cgi-bin/viewer.exe?CISOROOT=/costumehist&CISOPTR=90&CISORESTMP=/site-templates/search_results-sub.html&CISOVIEWTMP=/site-templates/item_viewer.html&CISOMODE=thumb

This group of children illustrates what I meant.  The older boy is breeched 
the younger boy still wears the tunic.  Yes, he wears trousers underneath 
but if you look at the little girls, technically, they do too.

http://content-dev.lib.washington.edu/costumehist/image/284.jpg

And finally, here is the portrait by Jean-Auguste-Dominique Ingres of a 
mother and son 1809.  The little boy wearing a skeleton suit.

http://hal.ucr.edu/~cathy/images/i-ingres/ingxvii.jpeg

Enjoy the pictures!
Respectfully,
Dawn



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Subject: [h-cost] RE: Skeleton Suit
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 From the descriptions given, it sounds like something similar to today's 
"button-on suit" -- a young boy's pants button which button onto a 
fancy/frilly shirt, often with a large collar. You'll find the design among 
purveyors of "heirloom sewing" patterns. Based on the boys modeling 
"button-on suits" in "heirloom sewing" mags such as _Sew Beautiful_ and 
_Creative Needle_, it looks like today's style is meant to be worn by boys 
between the ages of 3 and 6, or 3 and 8, though I think I've seen some 
modeled on toddler boys as well.

The length of the pants of "button-on" suits seems to vary from about 
shorts-length to mid-calf/plus-fours, the longer lengths being shown on the 
older boys.

Looking at the models in the magazines, it always seemed to me that the 
utility of the "button-on" was to make sure the pants didn't fall down or 
the shirt didn't get untucked during the special occasion for which the boy 
was required to wear this get-up.



Brenda
webwarren@earthlink.net

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Date: Sat, 20 Nov 2004 20:37:35 -0800 (PST)
From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Skeleton Suit    and Boy dresses
To: Historical Costume <h-costume@indra.com>
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 Hi, A little "human interest" on this subject...
My stepdad's "wife"...(who is late 70's) likes to tell
about her dad teasing them.
He would whip out old photographs of him as a toddler,

wearing a white ruffly dress.
he would then procede to tell them " Back when I was a
little girl...."
 So dressing little boys in "dresses" was still common
in the 1920's too.
 Melody

--- Dawn Luckham <dluckham@sympatico.ca> wrote:
>  I'm interested though in the term "breeched" being
used with the skeleton suit.  
> 
> The subject of convenience has been brought up as
> far as why little ones  (both boys and girls) wore
petticoats.  . Once a little boy was reliably
> potty trained, he could begin to wear transitional
clothing.  
>   During the Victorian era there were periods
> eswhere the "age of  breeching" is quite high (5 or
6 yrs. even!).  It must have been awkward 
> to consider a 5 year old still in petticoats. (
> > 
>


		
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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Skeleton Suit    and Boy dresses
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 Hi, A little "human interest" on this subject...
My stepdad's "wife"...(who is late 70's) likes to tell
about her dad teasing them.
He would whip out old photographs of him as a toddler,

wearing a white ruffly dress.
he would then procede to tell them " Back when I was a
little girl...."
 So dressing little boys in "dresses" was still common
in the 1920's too.
 Melody

--- Dawn Luckham <dluckham@sympatico.ca> wrote:
>  I'm interested though in the term "breeched" being
used with the skeleton suit.  
> 
> The subject of convenience has been brought up as
> far as why little ones  (both boys and girls) wore
petticoats.  . Once a little boy was reliably
> potty trained, he could begin to wear transitional
clothing.  
>   During the Victorian era there were periods
> eswhere the "age of  breeching" is quite high (5 or
6 yrs. even!).  It must have been awkward 
> to consider a 5 year old still in petticoats. (
> > 
>


		
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From h-costume-bounces@indra.com  Sun Nov 21 00:22:32 2004
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Skeleton Suit    and Boy dresses
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On Sat, 20 Nov 2004, Melody Watts wrote:

>  Hi, A little "human interest" on this subject... My stepdad's
> "wife"...(who is late 70's) likes to tell about her dad teasing them.
> He would whip out old photographs of him as a toddler, wearing a white
> ruffly dress. he would then procede to tell them " Back when I was a
> little girl...."
>  So dressing little boys in "dresses" was still common in the 1920's
> too.

Hmm, if she's in her late 70s, she was a child in the late 1920s and early
1930s. That means her father (who was referring to his childhood) would
have been talking about the very early years of the 1900s. And apparently
by the time she was hearing this story (late 20s perhaps), it must have no
longer been common, or the joke wouldn't have worked. Or did I misread
your post?

--Robin

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From: "Susan" <Scourney@nwlink.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost]  and Boy dresses
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My dad had a picture of himself taken as a child - wearing a white dress.
This would have been early 1930's in Portsmouth NH.  So even if it wasn't
common then, it wasn't unknown either.  (he had cute blond curls too.)

Susan in Seattle

>
> On Sat, 20 Nov 2004, Melody Watts wrote:
>
> >  Hi, A little "human interest" on this subject... My stepdad's
> > "wife"...(who is late 70's) likes to tell about her dad teasing them.
> > He would whip out old photographs of him as a toddler, wearing a white
> > ruffly dress. he would then procede to tell them " Back when I was a
> > little girl...."
> >  So dressing little boys in "dresses" was still common in the 1920's
> > too.
>
> Hmm, if she's in her late 70s, she was a child in the late 1920s and early
> 1930s. That means her father (who was referring to his childhood) would
> have been talking about the very early years of the 1900s. And apparently
> by the time she was hearing this story (late 20s perhaps), it must have no
> longer been common, or the joke wouldn't have worked. Or did I misread
> your post?
>
> --Robin
>

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  and Boy dresses
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While my younger brother never had to wear a dress, he did experience 
the change from "short pants" to long ones.  Until he was almost four, 
mom dressed him (as was common in our area) in short pants.  Just before 
his fourth birthday, he got his first pair of long pants.

Not long after that, we went to Florida for Christmas vacation (1966) 
and David was put back into shorts.  He was thoroughly offended and 
spent most of the trip trying to pull his pants down to cover his knees> 
  We're only three years apart in age, but I still remember the hotel 
room complaints he made about being a "big boy now" so "I wear LONG pants".

Generys

Susan wrote:
> My dad had a picture of himself taken as a child - wearing a white dress.
> This would have been early 1930's in Portsmouth NH.  So even if it wasn't
> common then, it wasn't unknown either.  (he had cute blond curls too.)
> 
> Susan in Seattle

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Subject: [h-cost] looking for 'renaissance' fabric
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I'm just about to give up in frustration. I'm looking for a fabric 
suitable for use as a lining for a houpellande, you know, with the big 
sleeves that show. I need about 15 yards to complete several garments. I 
need it in gold or yellow. I've hit local shops, and not so local shops, 
and every internet site I could find and I'm not having any luck. I 
really want to get these outfits done by Christmas and I am running out 
of time fast.

Does anyone here either have 15 yards of yellow/gold lining, or know of 
a website that sells something appropriate for renaissance costuming? 
I'm about to go blind searching.


Dawn




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Dawn wrote:
> Does anyone here either have 15 yards of yellow/gold lining, or know of 
> a website that sells something appropriate for renaissance costuming? 
> I'm about to go blind searching.

What's your price point?  Woven pattern or flat?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

The latin word 'carpe' is principally an agricultural term meaning to 
harvest, pluck, or gather. So the phrase should really be translated as 
'harvest the day,' which is a lot more laid back than 'seize the day.' 
-- Alex Boese
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Subject: Re: [h-cost] looking for 'renaissance' fabric
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Hello,
have you tried Ebay?  There are a couple merchants that have dupioni 
silk that runs around $10/yard.  I have bought both black and red and 
have been happy with the quality.

Althea

On Sunday, November 21, 2004, at 09:09 AM, Dawn wrote:

> I'm just about to give up in frustration. I'm looking for a fabric 
> suitable for use as a lining for a houpellande, you know, with the big 
> sleeves that show. I need about 15 yards to complete several garments. 
> I need it in gold or yellow. I've hit local shops, and not so local 
> shops, and every internet site I could find and I'm not having any 
> luck. I really want to get these outfits done by Christmas and I am 
> running out of time fast.
>
> Does anyone here either have 15 yards of yellow/gold lining, or know 
> of a website that sells something appropriate for renaissance 
> costuming? I'm about to go blind searching.
>
>
> Dawn
>
>
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

I think, therefore I'm dangerous.

I'll be Post-Feminist in a Post-Patriarchy

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In a message dated 11/21/2004 12:16:42 PM Eastern Standard Time,  
dawn@reddawn.net writes:

Does  anyone here either have 15 yards of yellow/gold lining, or know of 
a  website that sells something appropriate for renaissance costuming? 
I'm  about to go blind searching.


 
Are you looking specifically for natural fibers, or does that  matter to you? 
 fabric.com has burnished gold jacquard lining, but it's  polyester (and 
$4.95/yard).  They also have several different colors of  gold silk dupioni, but 
that's $9.95 a yard and most consider it inappropriate  for renaissance 
costuming.  On the other hand, if you're looking for linen,  I know a store in NYC 
that does mail-order and has linen for around $3-5 a  yard.  Last I was there 
they had a rainbow of colors, and if you want I'll  e-mail you their phone 
number so that you can call and ask.
 
Christine
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On Sun, 21 Nov 2004, Dawn wrote:

> Does anyone here either have 15 yards of yellow/gold lining, or know
> of a website that sells something appropriate for renaissance
> costuming?  I'm about to go blind searching.

If you're not worried about fiber content, I've had luck finding exactly
this in antique satin -- either at "mill end" or discount drapery shops
that carry out-of-style bolts, or at thrift stores or Goodwill, where
people are dumping their harvest gold draperies. I have bought, and cut
through, quite a number of patio-door-size drapes for exactly that
purpose. I'd give you my leftovers, but I don't think I have 15 yards
left, and I don't buy them anymore for my current work, which requires
natural fibers.

--Robin

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Subject: Re: [h-cost] Skeleton Suit    and Boy dresses
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In a message dated 11/20/2004 11:42:33 PM Eastern Standard Time, 
celticredhead2002@yahoo.com writes:
So dressing little boys in "dresses" was still common
in the 1920's too.
And even later--I have a book about Queen Elizabeth II that has a picture of 
Prince Charles in a dress.  Also, I believe it is the Masons where one of the 
archivists likes to tell people that he has a picture of J. Edgar Hoover in a 
dress (remember the rumors about his proclivities?), and it is a baby picture.

Ann Wass
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Date: Sun, 21 Nov 2004 10:39:13 -0800 (PST)
From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Skeleton Suit    and Boy dresses
To: Historical Costume <h-costume@indra.com>
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He had the pictures to prove it, dress and curly blond
ringlets,apparently he liked to whip out the photos to
make his story,
 They were from new york, Irish immigrants.... i
remember reading about the Irish in particular , who
would keep the boys in dresses longer to "protect"
them from the wee folk, who liked to steal young baby
boys .
By keeping them in dresses ,it was supposed to fool
the  wee folks and insure your son remained home....
of course  dressing a boy in a dress would probably
take care of that too.;!> This "tradition" probably
followed them to America.
She ,the woman, is now in a board & care for alzheimer
so her time frame might have been off, but yes I saw
the boy in the gown....a real cutie
--- Robin Netherton <robin@shell.nightowl.net> wrote:

> 
> On Sat, 20 Nov 2004, Melody Watts wrote:
> 
> >  Hi, A little "human interest" on this subject...
> My stepdad's
> > "wife"...(who is late 70's) likes to tell about
> her dad teasing them.
> > He would whip out old photographs of him as a
> toddler, wearing a white
> > ruffly dress. he would then procede to tell them "
> Back when I was a
> > little girl...."
> >  So dressing little boys in "dresses" was still
> common in the 1920's
> > too.
> 
> Hmm, if she's in her late 70s, she was a child in
> the late 1920s and early
> 1930s. That means her father (who was referring to
> his childhood) would
> have been talking about the very early years of the
> 1900s. And apparently
> by the time she was hearing this story (late 20s
> perhaps), it must have no
> longer been common, or the joke wouldn't have
> worked. Or did I misread
> your post?
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



		
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My brother and I both went to parochial school in one of the outer boroughs 
of NYC.  Unlike most parochial schools, we didn't have an official school 
uniform, but wore the same assembly day clothes as the kids in the NYC 
public schools- white shirt, navy pants and tie for the boys and navy skirt, 
white blouse and red tie for the girls.  Public school kids wore it once a 
week; we wore it every day.  When my brother started in 1959, my mother sent 
him off in navy shorts and matching knee socks.  They sent him home with a 
note to wear long pants.  My mother rolled in and explained that long pants 
were inappropriate for a boy of his age.  He continued to go in shorts until 
third or fourth grade.  His winter coat had matching leggings, so he didn't 
freeze in winter.  (My coats had them, too.)  Our winters had lots of snow, 
but Septembers and Junes were usually hot and humid.  As the other boys 
sweated in their long wool pants, they were very jealous of my brother's 
shorts.  He was the only one in our school who wore them, and maybe even the 
only one his age in the neighborhood.  He also wore Eton suits with matching 
caps for Sundays and special occasions and his first holy communion suit had 
shorts (again, the only one).
In the 50's and early 60's, this was probably a class thing, since this 
style of dress was pretty common for the rich kids on the upper east side of 
Manhattan, but nowhere near standard dress for ethnic working-class white 
kids in Queens.
Nana and mom had different ideas...
             -Helen/Aidan 


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Skeleton Suit    and Boy dresses
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On Sun, 21 Nov 2004, Melody Watts wrote:

> He had the pictures to prove it, dress and curly blond
> ringlets,apparently he liked to whip out the photos to
> make his story, ...
> She ,the woman, is now in a board & care for alzheimer
> so her time frame might have been off, but yes I saw
> the boy in the gown....a real cutie

Oh, I wasn't questioning the story at all, just trying to nail down the
period. Sounds like he was a child rather earlier than the 20s.

--Robin

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Subject: Re: [h-cost] Boys Skeleton suit
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AnnBWass@aol.com wrote
>In a message dated 11/19/2004 10:51:11 PM Eastern Standard Time,
>cathy@thyrsus.com writes:
>It seems to have been an excuse to celebrate
>a giant step toward "becoming a man."
>And, if a family was wealthy and of the horsy sort, also the ago of a boy's
>first pony.
>Ann Wass


 From a much earlier period, one of my favourite songs is Purcell's 
"Sound the Trumpet" from the Duke of Gloucester's Birthday Ode.  It 
celebrates how manly and warlike the prince is.  It turns out it was his 
sixth birthday, so I reckon it must have been for his breeching.  It's a 
rather sweet image when you know that, as the song says how he likes to 
hear drums and trumpets and wave a spear.  Sadly, this was the only son 
of Queen Anne to survive infancy, and he died at the age of 11.

Jean

-- 
Jean Waddie
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From: Jacqueline Johnson <jacquelinejbump@gmail.com>
To: Historical Costume <h-costume@indra.com>
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I have a picture of Prince Johnnie in a dress from the early 1900's 
http://pics.livejournal.com/jaie/pic/000dx5c7/

And I know my grandfather born in 1920 wore them as well we have
pictures someplace. My own son Tarquin who is now 13 also wore boy
dresses and kilts (although he'd kill me for telling about that)


-- 
============================
http://stores.ebay.com/Kristalori
eBay store now open!! Effluvia and
other Ephemera.
============================
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Subject: Re: [h-cost] looking for 'renaissance' fabric
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Cynthia Virtue wrote:
> Dawn wrote:
> 
>> Does anyone here either have 15 yards of yellow/gold lining, or know 
>> of a website that sells something appropriate for renaissance 
>> costuming? I'm about to go blind searching.
> 
> 
> What's your price point?  Woven pattern or flat?
> 

I'd like a natural fiber, cotton blend is ok. I'm hoping to find 
something under $7 a yard in a woven pattern, but I'm getting to that 
desperate stage.... I didn't want dupioni, but it may be the only thing 
I can find in that color.



Dawn


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Subject: [h-cost] Yellow/gold fabric?
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Below is a link to a fabric.  Not sure if the color tone is what you are looking for.

http://fabrics-store.com/first.phpgoto=big_fabric&menu=f&menu=f&fabric_id=418
--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares
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I don't have anything like 15 yds, but I do have a partial roll of 
bright gold satin originally intended for coat linings (so it's pretty 
sturdy).  I bought it years and YEARS ago to use as linings for SCA 
clothes, and have since changed styles/time periods.....
--sue

Dawn wrote:

> I'm just about to give up in frustration. I'm looking for a fabric 
> suitable for use as a lining for a houpellande, you know, with the big 
> sleeves that show. I need about 15 yards to complete several garments. I 
> need it in gold or yellow. I've hit local shops, and not so local shops, 
> and every internet site I could find and I'm not having any luck. I 
> really want to get these outfits done by Christmas and I am running out 
> of time fast.
> 
> Does anyone here either have 15 yards of yellow/gold lining, or know of 
> a website that sells something appropriate for renaissance costuming? 
> I'm about to go blind searching.
> 
> 
> Dawn


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Subject: Re: [h-cost] looking for 'renaissance' fabric
Date: Sun, 21 Nov 2004 18:10:25 -0600
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http://www.denverfabrics.com has a few gold/yellow silks (unpatterned, 
though) that might work, for $6 and $7/yd, as well as ditto in linen. I've 
been thinking of ordering this light gold silk:
http://snipurl.com/asuc
which is listed among the twills, so probably reasonably accurate; it's 
pretty thin so it looks decent for linings. If you get it, I hope there's 
more than 15 yards in stock so I can get some too. =}

(I've been looking for a patterned gold 100% silk and so far the only one I 
like is $48/yd! Sigh.)

-E House 

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] looking for 'renaissance' fabric
Date: Sun, 21 Nov 2004 18:47:03 -0600
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My $1 worth.
As was recommended, try the fabricstore.com.
Look for "the linen look" fabric for lining of a houppelande. The
houppelande is not technically, from my understanding, "renaissance" but
late medieval.
I have not seen in pictures with houppelandes, the lining being of brocade
material. Of coarse I have not seen all the pictures that are out there with
houppelandes on them.
I am not familiar with dupioni silk. If it is shlubby like shantung it is
not the right type of silk to use for lining as the fabric would not have
the rough folksy look to it in the middle ages.

De

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otsisto wrote:
> I have not seen in pictures with houppelandes, the lining being of brocade
> material. Of coarse I have not seen all the pictures that are out there with
> houppelandes on them.

You are right -- they are rare, but they are there.  Some theorize that 
the fur linings were switched with fabric for the summer.  Not unlike a 
trench coat that has a zip-out furry liner for the winter.  ;)

Here are some bad scans; the first one shows a blue fabric lining with 
flowers or something woven or embroidered on it:

http://www.virtue.to/articles/images/1400s_Devonshire.jpg

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

The latin word 'carpe' is principally an agricultural term meaning to 
harvest, pluck, or gather. So the phrase should really be translated as 
'harvest the day,' which is a lot more laid back than 'seize the day.' 
-- Alex Boese
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From h-costume-bounces@indra.com  Sun Nov 21 21:14:38 2004
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From: Kathryn Parke <kjp1685@yahoo.com>
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Subject: [h-cost] Medival belts?
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Hello, all --

I hope you can help me with a rather “lowbrow”
question!  I’ve been asked to help costume a madrigal
dinner, and the costumes in stock range from outfits
resembling houppelandes and cotehardies, to dresses
that replicate Elizabeth’s court (more or less), to
choir robes with some trim to dress them up a bit. 
Good enough for a week and a half to go!  In any
event, I have several Period Patterns, including the
one with houpelandes of various lengths, for both men
and women.  They are shown belted and unbelted, but
the short ones especially would look just dumpy if
they were unbelted.  However, I can’t get a clear
picture as to how to fabricate a medieval (or at least
“implied medieval”) belt.  Did they have buckles?  If
not, how did they fasten?  Some of the men’s belts
seem almost to be simple strips of leather that seemed
to have a loop at one end, through which the other end
was passed a couple of times and then allowed to hang
down -- does that make sense?  Obviously, we’re not
too worried about accuracy at this point -- but I
certainly don’t want anyone wandering around the floor
with a turquoise-studded silver cowboy buckle!

Thanks in advance for any advice you can offer --

Kathryn Parke
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From h-costume-bounces@indra.com  Sun Nov 21 21:28:52 2004
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From: J Schueller <jaurbik@optonline.net>
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Subject: [h-cost] Male Counter-point to Flemish Dress
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Hi all. 

I have FINALLY finished with my first flemish working women's outfit 
(except for the sleves and partlet) and was thinking it would be cool to 
make my husnabd the male counterpoint to my garb (but NOT matching!).  
Has anyone done anything indepth about the males who show up in the 
varius painting that the flemish ladies are in?  I know there are some 
males, and they look fairly typical, but i have never done thatmuch with 
costuming.

Jordana

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Subject: Re: [h-cost] Medival belts?
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Kathryn Parke wrote:

> Did they have buckles?

Yes, pretty much universally.  The extremely rigid belts that were worn 
with cotehardies are a special case, but otherwise a men's dress leather 
belt from the thrift store would serve you well for this purpose.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

The latin word 'carpe' is principally an agricultural term meaning to 
harvest, pluck, or gather. So the phrase should really be translated as 
'harvest the day,' which is a lot more laid back than 'seize the day.' 
-- Alex Boese
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Date: Sun, 21 Nov 2004 18:50:37 -0800 (PST)
From: Kathryn Parke <kjp1685@yahoo.com>
Subject: Re: [h-cost] Medival belts?
To: Historical Costume <h-costume@indra.com>
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FABULOUS!  And thank you for overlooking my spelling
error in the heading -- how mortifying!

:)
KP


--- Cynthia Virtue
<cvirtue+dated+1116643364.96ddd3@thibault.org> wrote:

> Kathryn Parke wrote:
> 
> > Did they have buckles?
> 
> Yes, pretty much universally.  The extremely rigid
> belts that were worn 
> with cotehardies are a special case, but otherwise a
> men's dress leather 
> belt from the thrift store would serve you well for
> this purpose.
> 
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
> 
> The latin word 'carpe' is principally an
> agricultural term meaning to 
> harvest, pluck, or gather. So the phrase should
> really be translated as 
> 'harvest the day,' which is a lot more laid back
> than 'seize the day.' 
> -- Alex Boese
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



		
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From: "michaela" <thebruce@ihug.co.nz>
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Subject: Re: [h-cost] Male Counter-point to Flemish Dress
Date: Mon, 22 Nov 2004 15:57:10 +1300
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> I have FINALLY finished with my first flemish working women's outfit
> (except for the sleves and partlet) and was thinking it would be cool to
> make my husnabd the male counterpoint to my garb (but NOT matching!).
> Has anyone done anything indepth about the males who show up in the
> varius painting that the flemish ladies are in?  I know there are some
> males, and they look fairly typical, but i have never done thatmuch with
> costuming.

I personally haven't but there was a site directed to my Frazzled Frau list
(and probably some others) that does deal with this.

http://members.rogers.com/lyndscadian/Men.htm

Not in depth as such, but a nice survey of clothes in the various paintings.

michaela
http://costumes.glittersweet.com



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J Schueller wrote:

> Has anyone done anything indepth about the males who show up in the 
> varius painting that the flemish ladies are in?  

I have a page in progress here:

http://www.reddawn.net/costume/peasant.htm

I'm about half done with presenting sources and identifying the details 
and suggesting methods of reproducing the clothing. This page has not 
been linked to my costuming site yet.


Dawn


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Kate Bunting
Library, University of Derby

>>> dluckham@sympatico.ca 20/11/2004 15:52:48 >

>I've been reading with great interest all of the Boy's Skeleton suit 
>posts.  I'm interested though in the term "breeched" being used with
>the skeleton suit.  It has always been my understanding that the
>'skeleton suit' along with the 'tunic suit' were transitional styles of
>clothing for the very young and did not quite classify as being
>"breeched".

Well, the term "breeched" obviously goes back to the period when
knee-breeches were standard male attire, long before special clothes for
children were invented.


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Hello everyone,
Does anyone know a good pattern for a XVIIIth century riding habit? 
I know that Mill Farm has one, but if someone can point me in a better direction, or has already tried this one or another, I'll be glad to know... Any piece of advice is more than welcome ;) By the way, it doesn't have to be fully accurate, just give the general "right" feeling.
Thank you all,
Mathilde
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Riding Habit pattern
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At 18:26 22/11/2004 +0100, you wrote:

>Hello everyone,
>Does anyone know a good pattern for a XVIIIth century riding habit?
>I know that Mill Farm has one, but if someone can point me in a better 
>direction, or has already tried this one or another, I'll be glad to 
>know... Any piece of advice is more than welcome ;) By the way, it doesn't 
>have to be fully accurate, just give the general "right" feeling.
>Thank you all,
>Mathilde


There's a riding habit in Janet Arnold "Patterns of Fashion 1660-1860" but 
it may be a bit late for you - it's about 1790 IIRC. I have a funny feeling 
there may be an earlier one too, but the brain is mush at the moment, and I 
don't have the book to hand.

Suzi


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Subject: Re: [h-cost] Riding Habit pattern
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In a message dated 11/22/2004 12:53:42 PM Eastern Standard Time, 
suzi@suziclarke.co.uk writes:

> I have a funny feeling 
> there may be an earlier one too, but the brain is mush at the moment, and I 
> don't have the book to hand.
> 

There is. A riding/traveling outfit...well Jacket..circa 1760 I think. It's 
the basis for Glenn Close's yellow and black carriage outfit in "Dangerous 
Liaisons". It has that Oh-so-period horizontal dart just at top-of-the-corset 
height at the CF opening.

I'm sure some of those pattern companies that take it from Janet Arnold has 
it already sized and drawn out.
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Subject: [h-cost] Fw:  Scalamandre
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Thought I'd pass on this:-




>
> Scalamandré, the 75-year-old company known for extravagant fabrics, is
> moving from Long Island City in Queens to South Carolina next year and
will
> sell thousands of artifacts before it goes. In addition to 8,000 yards of
> fabric ($25 a yard), the inventory includes 2 dobby looms (right), 10
> trimming looms and 11 jacquard looms ($5,000 to $12,000). Tickets for
Early
> Buyer Days (Nov. 29 to Dec. 1) are $100 through an Internet auction;
> Discount Buyer Day tickets (Dec. 2 to 4) are $50. Bulk Buying Days (Dec. 6
> to 10) are free; 37-19 23rd Street, Long Island City. Information:
> www.scalamandre.com, (800) 508-0022. ELAINE LOUIE
>
>
> _______________________________________________
>
> Scalamandre -- moving?  This
> company wove, among others, the material for the White House.  The company
> was based on the great weaving houses of Italy (as I remember it).
>

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Subject: [h-cost] Slightly O.T.-Embroiderer's Guild of America
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Greetings All!

First, I want to apologize to anyone who gets this twice.

Second, Does anyone here know anything about the Embroiderer's Guild of America?  Has anyone taken any of the the Correspondence courses from them?  Is it worth the time and money?

If you could contact me off-line, I would appreciate any information you can give me.

Thank you,
Kit

-- 
Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole

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Subject: Re: [h-cost] Riding Habit pattern
Date: Mon, 22 Nov 2004 14:07:47 -0500
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Hasn't one of the major pattern companies done one recently...if it doesn't
need to be 100% accurate?  I think the jacket is developed from the right
number of pieces.  If you throw the shoulder over to the back it will sit
more appropriately.
Kathleen

----- Original Message ----- 
From: "Rhianna" <liara@wanadoo.fr>
To: <h-costume@indra.com>
Sent: Monday, November 22, 2004 12:26 PM
Subject: [h-cost] Riding Habit pattern


>
> Hello everyone,
> Does anyone know a good pattern for a XVIIIth century riding habit?
> I know that Mill Farm has one, but if someone can point me in a better
direction, or has already tried this one or another, I'll be glad to know...
Any piece of advice is more than welcome ;) By the way, it doesn't have to
be fully accurate, just give the general "right" feeling.
> Thank you all,
> Mathilde
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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At 13:56 22/11/2004 -0500, you wrote:
>In a message dated 11/22/2004 12:53:42 PM Eastern Standard Time,
>suzi@suziclarke.co.uk writes:
>
> > I have a funny feeling
> > there may be an earlier one too, but the brain is mush at the moment, 
> and I
> > don't have the book to hand.
> >
>
>There is. A riding/traveling outfit...well Jacket..circa 1760 I think. It's
>the basis for Glenn Close's yellow and black carriage outfit in "Dangerous
>Liaisons". It has that Oh-so-period horizontal dart just at top-of-the-corset
>height at the CF opening.
>
>I'm sure some of those pattern companies that take it from Janet Arnold has
>it already sized and drawn out.


Many of the costumes made for "Dangerous Liaisons" were made by girls who 
were students of Jean Hunnisett and Janet Arnold, which is why those 
costumes actually have the right "feel" about them.

I am suspicious of some of the pattern companies who use copies of Janet's 
drawings, and the ones done by Janette Haslam for the Hunnisett books, as 
the angles are so similar.

Suzi


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From: Jacqueline Johnson <jacquelinejbump@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Riding Habit pattern
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> ----- Original Message -----
> From: "Rhianna" <liara@wanadoo.fr>
> To: <h-costume@indra.com>
> Sent: Monday, November 22, 2004 12:26 PM
> Subject: [h-cost] Riding Habit pattern
> 
> >
> > Hello everyone,
> > Does anyone know a good pattern for a XVIIIth century riding habit?
> > I know that Mill Farm has one, but if someone can point me in a better
> direction, or has already tried this one or another, I'll be glad to know...
> Any piece of advice is more than welcome ;) By the way, it doesn't have to
> be fully accurate, just give the general "right" feeling.
> > Thank you all,
> > Mathilde

There are a few out there. 
http://www.patternsoftime.com/patterns/Millfarm/Mill%20Farm%2015.jpg $16.00 
http://www.patternsoftime.com/cat57b.html

http://www.patternsoftime.com/patterns/rh/rh194.jpg I think this one
is Rocking Horse Farms http://www.patternsoftime.com/cat67.html

http://www.patternsoftime.com/patterns/rh/rh151.jpg a colonial one.
http://www.patternsoftime.com/cat54.html 

I think there's a couple others out there I want to say Jessamyne has one maybe.
-- 
============================
http://stores.ebay.com/Kristalori
Period Patterns!
============================
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In a message dated 11/22/2004 2:10:54 PM Eastern Standard Time, 
suzi@suziclarke.co.uk writes:

> Many of the costumes made for "Dangerous Liaisons" were made by girls who 
> were students of Jean Hunnisett and Janet Arnold, which is why those 
> costumes actually have the right "feel" about them.
> 

Well, my only prob with "DL" is the Arnold stuff is English and mid century, 
whereas the story is French and supposed to be near the end of the century and 
much closer to the Revolution. But...hey...it's a top notch production.

I worked on "Last of the Mohicans" with some of the cutters for "DL" and they 
are the BEST. But they do as they are told and James Acheson [who designed 
Mohicans but quit when Michael Mann drove him nuts] wants documentation of 
things and of course demands a mock up [usually in a fabric...which goes on an 
extra later]

Alice's habit in "Mohicans" is from Arnold, and Cora's great habit was worked 
out from a photo of a jacket in some museum....I only saw a Xerox of it. I 
can't remember where it came from.
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Riding Habit pattern
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At 14:23 22/11/2004 -0500, you wrote:
>In a message dated 11/22/2004 2:10:54 PM Eastern Standard Time,
>suzi@suziclarke.co.uk writes:
>
> > Many of the costumes made for "Dangerous Liaisons" were made by girls who
> > were students of Jean Hunnisett and Janet Arnold,
>
>Well, my only prob with "DL" is the Arnold stuff is English and mid century,
>whereas the story is French and supposed to be near the end of the century 
>and
>much closer to the Revolution. But...hey...it's a top notch production.

James Acheson designed "DL" too, as far as I know, and was determined on 
those styles - Glenn Close had only just had her baby, and was still 
feeding, so needed support, from what I was told by someone who worked on it.


>I worked on "Last of the Mohicans" with some of the cutters for "DL" and they
>are the BEST. But they do as they are told and James Acheson [who designed
>Mohicans but quit when Michael Mann drove him nuts] wants documentation of
>things and of course demands a mock up [usually in a fabric...which goes 
>on an
>extra later]

On everything - someone I know has done several films with him, and really 
enjoyed working for him, as he used the same books that she had used at 
college!! He seemed to like to have chapter and verse for every garment - 
more strength to him, say I. Better than some so called designers who 
wouldn't know a period accurate costume if it bit them in the a**!!

One of my hobby horses - sorry!

Suzi


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From: pixel <goddessandqueen@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medival belts?
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On Sun, 21 Nov 2004 18:13:33 -0800 (PST), Kathryn Parke
<kjp1685@yahoo.com> wrote:
> Hello, all --
> 
> I hope you can help me with a rather "lowbrow"
> question!  I've been asked to help costume a madrigal
> dinner, and the costumes in stock range from outfits
> resembling houppelandes and cotehardies, to dresses
> that replicate Elizabeth's court (more or less), to
> choir robes with some trim to dress them up a bit.
> Good enough for a week and a half to go!  In any
> event, I have several Period Patterns, including the
> one with houpelandes of various lengths, for both men
> and women.  They are shown belted and unbelted, but
> the short ones especially would look just dumpy if
> they were unbelted.  However, I can't get a clear
> picture as to how to fabricate a medieval (or at least
> "implied medieval") belt.  Did they have buckles?  If
> not, how did they fasten?  Some of the men's belts
> seem almost to be simple strips of leather that seemed
> to have a loop at one end, through which the other end
> was passed a couple of times and then allowed to hang
> down -- does that make sense?  Obviously, we're not
> too worried about accuracy at this point -- but I
> certainly don't want anyone wandering around the floor
> with a turquoise-studded silver cowboy buckle!
> 
> Thanks in advance for any advice you can offer --
> 
> Kathryn Parke

Yes, the belts have buckles. You buckle the belt then wrap the "tail" 
down and around behind the belt and then up and over and through
itself (kind of like tying a necktie, but sideways) so it hangs
straight down and shows off your nifty belt and belt-end. If you're
thrift-store shopping, you want to look for narrower leather, 1" or
less, the longest you can find, and simple buckles.

Some examples:

http://www.medievalwares.com/medieval_buckles.htm
http://www.historicenterprises.com/cart.php?m=product_detail&p=58&c=8

Spiffy belts frequently have mounts on them, but that's probably a
level of authenticity you don't need here. ;-)

Margaret/Pixel
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Date: Mon, 22 Nov 2004 21:15:42 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Medival belts?
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At 14:45 22/11/2004 -0600, you wrote:
>On Sun, 21 Nov 2004 18:13:33 -0800 (PST), Kathryn Parke
><kjp1685@yahoo.com> wrote:
> > Hello, all --
> >
> > I hope you can help me with a rather "lowbrow"
> > question!  I've been asked to help costume a madrigal
> > dinner, and the costumes in stock range from outfits
> > resembling houppelandes and cotehardies, to dresses
> > that replicate Elizabeth's court (more or less), to
> > choir robes with some trim to dress them up a bit.
> > Good enough for a week and a half to go!  In any
> > event, I have several Period Patterns, including the
> > one with houpelandes of various lengths, for both men
> > and women.  They are shown belted and unbelted, but
> > the short ones especially would look just dumpy if
> > they were unbelted.  However, I can't get a clear
> > picture as to how to fabricate a medieval (or at least
> > "implied medieval") belt.  Did they have buckles?  If
> > not, how did they fasten?  Some of the men's belts
> > seem almost to be simple strips of leather that seemed
> > to have a loop at one end, through which the other end
> > was passed a couple of times and then allowed to hang
> > down -- does that make sense?  Obviously, we're not
> > too worried about accuracy at this point -- but I
> > certainly don't want anyone wandering around the floor
> > with a turquoise-studded silver cowboy buckle!
> >
> > Thanks in advance for any advice you can offer --
> >
> > Kathryn Parke
>
>Yes, the belts have buckles. You buckle the belt then wrap the "tail"
>down and around behind the belt and then up and over and through
>itself (kind of like tying a necktie, but sideways) so it hangs
>straight down and shows off your nifty belt and belt-end. If you're
>thrift-store shopping, you want to look for narrower leather, 1" or
>less, the longest you can find, and simple buckles.
>
>Some examples:
>
>http://www.medievalwares.com/medieval_buckles.htm
>http://www.historicenterprises.com/cart.php?m=product_detail&p=58&c=8
>
>Spiffy belts frequently have mounts on them, but that's probably a
>level of authenticity you don't need here. ;-)


You might like to visit this site too. This lady loaned me a girdle, and 
Annie the Pedlar made the fittings.

http://www.et-tu.com/ginab/cgi-bin/mods/gallery/gallery.cgi?view=list&gallery=girdles&col=4

www.anniethepedlar.com

Suzi



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In a message dated 11/21/2004 12:42:19 PM Eastern Standard Time, IceGirlNIN@aol.com writes:

>On the other hand, if you're looking for linen, I know a
>store in NYC that does mail-order and has linen for around
>$3-5 a  yard.  Last I was there they had a rainbow of 
>colors, and if you want I'll  e-mail you their phone number
> so that you can call and ask.

Christine,

Can you send me the information of the store in NYC?

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] riding habits
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> Well, my only prob with "DL" is the Arnold stuff is English and mid 
> century,
> whereas the story is French and supposed to be near the end of the century 
> and
> much closer to the Revolution. But...hey...it's a top notch production.

Albertcat,
Dont you think that a riding habbit could have ben a fossilised fashion as 
the court dress was? So that it was just as fashionable in that cut in the 
mid eighteenth as it would have ben in the 70ies?
I know that the book was written in the 80ies, but the movie used fashion as 
it was in the 70ies. If it should have ben 80ies fashion, the panier hoops 
would be out of fashion, and they were used in the movie two.
I am glad that they didnt follow the books years for fashion, i think it was 
perfect as it was.
And by the way, they are putting up this play at a big theater here in 
Copenhagen, and i must go and see.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Riding Habit pattern
Date: Mon, 22 Nov 2004 17:41:41 -0500
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Others have given some great advice on patterns.  But perhaps my photo
essay will help too:
http://www.reconstructinghistory.com/18thc/ridingjacket.html

Kass

Reconstructing History Patterns
http://reconstructinghistory.com
Join Our Pattern Discussion List:
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ghistory.com

-----Original Message-----
From: Rhianna [mailto:liara@wanadoo.fr] 
Sent: 22 November 2004 12:26 PM
To: h-costume@indra.com
Subject: [h-cost] Riding Habit pattern


Hello everyone,
Does anyone know a good pattern for a XVIIIth century riding habit? 
I know that Mill Farm has one, but if someone can point me in a better
direction, or has already tried this one or another, I'll be glad to
know... Any piece of advice is more than welcome ;) By the way, it
doesn't have to be fully accurate, just give the general "right"
feeling.
Thank you all,
Mathilde
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In a message dated 11/22/2004 5:42:57 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:

> Dont you think that a riding habbit could have ben a fossilised fashion as 
> the court dress was?

Hmmmmm...interesting. In a way. It had for a VERY long time been styled like 
men's clothes but it still will follow the current fashion and silhouette for 
women...and men.

Practically all the stuff in "DL" is based on English examples, but that's 
not so dreadful. James Acheson certainly gave the fabrics and details a 
continental flare. It's a beautiful movie that actually deserves its Oscar.

And putting it in 1788 gives it political connotations that aren't really 
needed in the film. It's more fun when its personal not political. But, Hey....I 
thought you liked the clothes in "Jefferson in Paris"! ;-)
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medival belts?
Date: Mon, 22 Nov 2004 22:59:55 -0500
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On Monday 22 November 2004 3:45 pm, pixel wrote:

[snip]

> Yes, the belts have buckles. You buckle the belt then wrap the "tail"
> down and around behind the belt and then up and over and through
> itself (kind of like tying a necktie, but sideways) so it hangs
> straight down and shows off your nifty belt and belt-end. If you're
> thrift-store shopping, you want to look for narrower leather, 1" or
> less, the longest you can find, and simple buckles.
>
> Some examples:
>
> http://www.medievalwares.com/medieval_buckles.htm
> http://www.historicenterprises.com/cart.php?m=product_detail&p=58&c=8

Billy and Charlie's also sells belts with mounts, probably cheaper than the 
above because their metalwork is all pewter:

http://www.billyandcharlie.com/belts.html

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Medieval belts?
Date: Mon, 22 Nov 2004 21:45:52 -0800
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For those who want Loooong belts I found a source for both wide and narrow,
finished and unfinished, with buckles or without (do it yourself) at my
local leather/horse supply, Oregon Leather.  They think they are reins for
wagons or sulkies,  or cinch straps for pack horses (means they would be
perfect for squires and Minions!).  The last one I bought was fully finished
in a lovely cordovan red about 12 feet long.  They ran $18-22 for finished
with buckle and between $10-15 for unfinished (undyed, they had a smooth
finish that would probably take color) with no buckle.

Regina Romsey
>

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From h-costume-bounces@indra.com  Tue Nov 23 03:44:13 2004
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From: "Danielle Nunn-Weinberg" <dannw@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Medival belts?
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Another merchant you might want to try, if you're looking for belts is http://www.fetteredcockpewters.com/

They do some nice belts and some very cheeky pewter pilgrim's badges.

Cheers,
Danielle

----- Original Message -----
From: pixel <goddessandqueen@gmail.com>
 
> On Sun, 21 Nov 2004 18:13:33 -0800 (PST), Kathryn Parke
> <kjp1685@yahoo.com> wrote:

<snip>
 
> > Kathryn Parke
> 
> Yes, the belts have buckles. You buckle the belt then wrap the "tail" 
> down and around behind the belt and then up and over and through
> itself (kind of like tying a necktie, but sideways) so it hangs
> straight down and shows off your nifty belt and belt-end. If you're
> thrift-store shopping, you want to look for narrower leather, 1" or
> less, the longest you can find, and simple buckles.
> 
> Some examples:
> 
> http://www.medievalwares.com/medieval_buckles.htm
> http://www.historicenterprises.com/cart.php?m=product_detail&p=58&c=8
> 
> Spiffy belts frequently have mounts on them, but that's probably a
> level of authenticity you don't need here. ;-)
> 
> Margaret/Pixel

-- 
_______________________________________________
Find what you are looking for with the Lycos Yellow Pages
http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10


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From: gia_gavino@comcast.net (Elena O'Tighearnaigh)
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medival belts?
Date: Tue, 23 Nov 2004 10:50:53 +0000
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Yes, I went to the 'Naughty Bit's' page and chuckled my way through....

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares

-------------- Original message -------------- 

> Another merchant you might want to try, if you're looking for belts is 
> http://www.fetteredcockpewters.com/ 
> 
> They do some nice belts and some very cheeky pewter pilgrim's badges. 
> 
> Cheers, 
> Danielle 
> 
> ----- Original Message ----- 
> From: pixel 
> 
> > On Sun, 21 Nov 2004 18:13:33 -0800 (PST), Kathryn Parke 
> > wrote: 
> 
> 
> 
> > > Kathryn Parke 
> > 
> > Yes, the belts have buckles. You buckle the belt then wrap the "tail" 
> > down and around behind the belt and then up and over and through 
> > itself (kind of like tying a necktie, but sideways) so it hangs 
> > straight down and shows off your nifty belt and belt-end. If you're 
> > thrift-store shopping, you want to look for narrower leather, 1" or 
> > less, the longest you can find, and simple buckles. 
> > 
> > Some examples: 
> > 
> > http://www.medievalwares.com/medieval_buckles.htm 
> > http://www.historicenterprises.com/cart.php?m=product_detail&p=58&c=8 
> > 
> > Spiffy belts frequently have mounts on them, but that's probably a 
> > level of authenticity you don't need here. ;-) 
> > 
> > Margaret/Pixel 
> 
> -- 
> _______________________________________________ 
> Find what you are looking for with the Lycos Yellow Pages 
> http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC 
> =lycos10 
> 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
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Status: RO

Someone mentioned the 1830s "pilgrim" a few days ago.

Here is another mixed up image:

Queen Anne Cordial Cherries ad in this month's "Woman's Day" (Dec. 
7)--probably in other magazines too, says, "The holidays aren't the same without Queen 
Anne."  It is accompanied by a photo Christmas card of a contemporary family, 
with Queen Elizabeth I right in the middle--well, maybe they really meant 
that--she ISN'T Queen Anne, after all!
Anyway, there is no mistaking her--big ruff, white face, red hair, and all.

Ann Wass
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Oh, good lord, that's *awful.*  Heck, it even merits a letter to the 
magazine.
I wonder if they thought folks just wouldn't notice the difference in 
centuries if they got the country right?
--sue, not sure if she should sorta laugh or shudder ;o)

AnnBWass@aol.com wrote:

> Someone mentioned the 1830s "pilgrim" a few days ago.
> 
> Here is another mixed up image:
> 
> Queen Anne Cordial Cherries ad in this month's "Woman's Day" (Dec. 
> 7)--probably in other magazines too, says, "The holidays aren't the same without Queen 
> Anne."  It is accompanied by a photo Christmas card of a contemporary family, 
> with Queen Elizabeth I right in the middle--well, maybe they really meant 
> that--she ISN'T Queen Anne, after all!
> Anyway, there is no mistaking her--big ruff, white face, red hair, and all.


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In a message dated 11/23/2004 8:12:58 AM Eastern Standard Time, 
mooncat@in-tch.com writes:
Oh, good lord, that's *awful.*  Heck, it even merits a letter to the 
magazine.
I wonder if they thought folks just wouldn't notice the difference in 
centuries if they got the country right?
I already e-mailed the candy company--we'll see if I get a response.  (Also 
found an image of Queen Anne on the web and sent them the link.)

Ann Wass
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  Maybe these ads are from the same company that did the "Northern Quilters" a few years ago (Northern is
a brand of toilet tissue, allegedly quilted, for those who don't see US TV) - a number of cartoon ladies quilting 
the toilet paper, each using two great big knitting needles....

Liadain

-----Original Message-----
From: AnnBWass@aol.com
Sent: Nov 23, 2004 5:15 AM
To: h-costume@indra.com
Subject: [h-cost] Advertising Images

Someone mentioned the 1830s "pilgrim" a few days ago.

Here is another mixed up image:

Queen Anne Cordial Cherries ad in this month's "Woman's Day" (Dec. 
7)--probably in other magazines too, says, "The holidays aren't the same without Queen 
Anne."  It is accompanied by a photo Christmas card of a contemporary family, 
with Queen Elizabeth I right in the middle--well, maybe they really meant 
that--she ISN'T Queen Anne, after all!
Anyway, there is no mistaking her--big ruff, white face, red hair, and all.

Ann Wass
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I saw that one! and my immediate thought was "that's not Anne, that Elizabeth! Duh!"  :-)

Rebecca Schmitt
aka Agness Cabot

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Hello the List.

Someone out there might be interested in this job announcement, from the 19 November NEWTOWN BEE:

Chief Editor
THREADS magazine, the leading how-to publication for people who love to sew, is looking for an experienced journalist and avid garment sewer to lead its editorial team. Requires proven managerial experience, strong visual and editing skills, and knowledge of the sewing market. We offer a competitive salary, an excellent benefits package, and a pleasant work environment. 1-1/2 hours from New York City. Send letter, resume, and writing samples to HR
The Taunton Press
www.taunton.com
Fax: 203-426-3503
63 S. Main Street, Box 5506
Newtown, CT 06470
An Equal Opportunity Employer


They have a lot of turnover at Taunton Press, judging from their help-wanted ads. They advertised this same position two or three years ago; obviously they filled it, but it's open again. I applied last time and didn't even get a response, although I have practical credentials in journalism (but not magazine editorial) and a lot of sewing savvy. I might try again. Anyway, I think there are several people at least on this list who clearly could do the job and might want to move to Newtown, a pricey but charming old town where I direct at the community theater. If the salary is genuinely competitive for Fairfield County, it's got to be a pretty nice salary.

Anyway, F.Y.I.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer
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In a message dated 11/23/2004 12:26:43 PM Eastern Standard Time, 
hardcorps@earthlink.net writes:
Queen Anne Cordial Cherries ad in this month's "Woman's Day" (Dec. 
7)--probably in other magazines too, says, "The holidays aren't the same 
without Queen 
Anne."  It is accompanied by a photo Christmas card of a contemporary family, 
with Queen Elizabeth I right in the middle--well, maybe they really meant 
that--she ISN'T Queen Anne, after all!
Anyway, there is no mistaking her--big ruff, white face, red hair, and all.
I got an answer from my email to the candy company.  The respondent said she 
was "impressed with my historical knowledge" and would forward my comments to 
the appropriate people--I presume it was their advertising agency that came up 
with this!

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

From h-costume-bounces@indra.com  Wed Nov 24 09:01:02 2004
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From: Irmgart Hasenschlaf <irmgart@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Advertising Images
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oh, thank god... I mean... 

http://www.yale.edu/yup/images/0300090242.jpg

vs

http://www.columbia.edu/itc/law/witt/images/lect2/queen_elizabeth_armada_portrait_fixed.jpg

how could anyone mistake the two?

On Wed, 24 Nov 2004 08:38:53 EST, annbwass@aol.com <annbwass@aol.com> wrote:
> In a message dated 11/23/2004 12:26:43 PM Eastern Standard Time,
> 
> 
> hardcorps@earthlink.net writes:
> Queen Anne Cordial Cherries ad in this month's "Woman's Day" (Dec.
> 7)--probably in other magazines too, says, "The holidays aren't the same
> without Queen
> Anne."  It is accompanied by a photo Christmas card of a contemporary family,
> with Queen Elizabeth I right in the middle--well, maybe they really meant
> that--she ISN'T Queen Anne, after all!
> Anyway, there is no mistaking her--big ruff, white face, red hair, and all.
> I got an answer from my email to the candy company.  The respondent said she
> was "impressed with my historical knowledge" and would forward my comments to
> the appropriate people--I presume it was their advertising agency that came up
> with this!
> 
> 
> 
> Ann Wass
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

From h-costume-bounces@indra.com  Wed Nov 24 09:02:16 2004
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Date: Wed, 24 Nov 2004 07:52:39 -0600
Subject: Re: [h-cost] Advertising Images
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Maybe if someone could post a scan of the pic on the web somewhere so we
could all take a look at it and then write to the same person observing
the same thing, the advertising agency might get the clue that there are
people out there who DO know which English queen is which! 



Karen
(attempting to stamp out corporate idiocy whenever possible)



On Wed, 24 Nov 2004 08:38:53 EST AnnBWass@aol.com writes:
> In a message dated 11/23/2004 12:26:43 PM Eastern Standard Time, 
> hardcorps@earthlink.net writes:
> Queen Anne Cordial Cherries ad in this month's "Woman's Day" (Dec. 
> 7)--probably in other magazines too, says, "The holidays aren't the 
> same 
> without Queen 
> Anne."  It is accompanied by a photo Christmas card of a 
> contemporary family, 
> with Queen Elizabeth I right in the middle--well, maybe they really 
> meant 
> that--she ISN'T Queen Anne, after all!
> Anyway, there is no mistaking her--big ruff, white face, red hair, 
> and all.
> I got an answer from my email to the candy company.  The respondent 
> said she 
> was "impressed with my historical knowledge" and would forward my 
> comments to 
> the appropriate people--I presume it was their advertising agency 
> that came up 
> with this!
> 
> Ann Wass
> _______________________________________________
> 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 11/24/2004 9:02:02 AM Eastern Standard Time, 
seamstrix@juno.com writes:
Maybe if someone could post a scan of the pic on the web somewhere so we
could all take a look at it and then write to the same person observing
the same thing, the advertising agency might get the clue that there are
people out there who DO know which English queen is which! 
I think the candy company got the point, and of course I've no idea who set 
up the advertisement.

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

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You have a lifetime job ahead of you.  Just when you think you've made something idiot proof they come up with a better idiot <G>.

Julie

> Karen
> (attempting to stamp out corporate idiocy whenever possible)
> 

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Date: Wed, 24 Nov 2004 15:37:46 -0800
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At 7:15 AM -0500 11/23/04, AnnBWass@aol.com wrote:
>Someone mentioned the 1830s "pilgrim" a few days ago.
>
>Here is another mixed up image:
>
>Queen Anne Cordial Cherries ad in this month's "Woman's Day" (Dec.
>7)--probably in other magazines too, says, "The holidays aren't the 
>same without Queen
>Anne."  It is accompanied by a photo Christmas card of a contemporary family,
>with Queen Elizabeth I right in the middle--well, maybe they really meant
>that--she ISN'T Queen Anne, after all!
>Anyway, there is no mistaking her--big ruff, white face, red hair, and all.

Well, considering their brand name, they could hardly identify her as 
Queen anything-else-but-Anne, I suppose. <g> It would kinda spoil the 
ad.....

Maybe they just went with the first image that looked to them like an 
English Queen. Could have been worse if they'd picked, say, 
Boadicea.... <g>.
-- 
_________________________________________________________
O    Chris Laning <claning@igc.org>
|      Davis, California -  http://paternosters.blogspot.com
+     http://paternoster-row.org
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In a message dated 11/24/2004 6:51:54 PM Eastern Standard Time, 
claning@igc.org writes:
Well, considering their brand name, they could hardly identify her as 
Queen anything-else-but-Anne, I suppose. <g> It would kinda spoil the 
ad.....
And I keep wondering if all through the photo shoot, they would say, "Okay, 
Queen Anne, go here, or do this," and not one of the folks in the photo (there 
were several!) knew the difference.  Or, as you say, they just knew they had 
to accept it.

My husband and I once went to a Halloween party at a bar.  He was dressed as 
Pan.  The MC kept calling him "Othello"--we figure he meant "Puck" but 
couldn't remember the right name.

Ann Wass
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In a message dated 11/24/2004 7:29:59 PM Eastern Standard Time, 
AnnBWass@aol.com writes:

> The MC kept calling him "Othello"--we figure he meant "Puck" but 
> couldn't remember the right name.
> 

Oy!

And as to the Queen Ann thing...Oy too! I used to do advertising and they 
really don't care or know most of the time. They're lucky they didn't use Queen 
Victoria....it would looked like a Bombay Gin ad.

I had to get together an event when I worked in advertising, for a line of 
Mediterranean Renaissance furniture called "Pavane". I hired two dancers and a 
lutist and two recorder players [and a choreographer], designed and had made 
costumes for them, dressed a courtyard up beside the buffet and had them play 
and dance all day as potential buyers came through. 
Most buyers were like, "What's this got to do with anything?" which is OK but 
when I heard the company rep say "I don't know." I flipped. I very 
impatiently explained to him what a Pavane was.

 How can they be so stupid? What did they think it meant? Why did they name 
it that [I mean it was Med. Renn.] if they didn't know?

I hate Advertising. I don't miss it.
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[Feel free to forward this message to other relevant lists, but please
copy me in so I know where this message is going]

Gale Owen-Crocker just e-mailed me with the news that her new edition of
_Dress in Anglo-Saxon England_ has reached the publisher's warehouse. I'm
guessing, then, it should be shipping on schedule or earlier (the official
release date is Nov. 30).

You can see a list of the contents, and order a copy, here:

http://www.boydell.co.uk/43830817.HTM

When it says "Revised and enlarged edition," that's an understatement.
Those of you who already know the first edition as *the* word in dress in
this period will be delighted by the wealth of new information --
including much archaeological evidence -- in this book. I have only seen
bits and pieces so far, so I look forward to some surprises when I get to
read the whole thing.

Those of you who go to the International Medieval Congresses at Kalamazoo
or Leeds should be able to get the book at conference discount, if you can
wait that long ;-)

--Robin


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Checked it at Amazon.ca  52.50 can. Amazon.com 31.50 us, appears to be
available now.

Brin Kendall

----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Thursday, November 25, 2004 11:45 AM
Subject: [h-cost] Dress in Anglo-Saxon England



[Feel free to forward this message to other relevant lists, but please
copy me in so I know where this message is going]

Gale Owen-Crocker just e-mailed me with the news that her new edition of
_Dress in Anglo-Saxon England_ has reached the publisher's warehouse. I'm
guessing, then, it should be shipping on schedule or earlier (the official
release date is Nov. 30).

You can see a list of the contents, and order a copy, here:

http://www.boydell.co.uk/43830817.HTM

When it says "Revised and enlarged edition," that's an understatement.
Those of you who already know the first edition as *the* word in dress in
this period will be delighted by the wealth of new information --
including much archaeological evidence -- in this book. I have only seen
bits and pieces so far, so I look forward to some surprises when I get to
read the whole thing.

Those of you who go to the International Medieval Congresses at Kalamazoo
or Leeds should be able to get the book at conference discount, if you can
wait that long ;-)

--Robin


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Subject: [h-cost] Manchester shift
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I wonder if anyone on the list has information on a woman's shift housed
in the Gallery of English Costume in Manchester.  The shift dates to
1700 or earlier and is pictured in figure 27 of the Cunnington's "The
History of Underclothes".  Nothing much is said about the shift, so I
was wondering if anyone on this list has seen it in person or knows
where else it might be discussed.  I'm looking specifically for
measurements of the pieces but I'd take any information that would help
me make a reasonable replica of a shift of that time period.  I might
mention that I am *not* interested in earlier or later shifts at this
time -- just any extant examples from circa 1670-1710.

Thank you in advance for your help.

Sincerely,
Kass McGann

Reconstructing History Patterns
http://reconstructinghistory.com
Join Our Pattern Discussion List:
http://reconstructinghistory.com/mailman/listinfo/patterns_reconstructin
ghistory.com

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Dress in Anglo-Saxon England
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Following up my own post (below): An alert correspondent tells me that
Amazon is selling this for $31.50. Great price for a hardback, and much
cheaper than Boydell's $50 U.S. price, and better than the usual 20%
discount for professional societies, conference attendees, etc. I am told
the print run was 3,000, which is a lot for an academic book, but a small
run by other standards.

--Robin


On Thu, 25 Nov 2004, Robin Netherton wrote:

> 
> [Feel free to forward this message to other relevant lists, but please
> copy me in so I know where this message is going]
> 
> Gale Owen-Crocker just e-mailed me with the news that her new edition of
> _Dress in Anglo-Saxon England_ has reached the publisher's warehouse. I'm
> guessing, then, it should be shipping on schedule or earlier (the official
> release date is Nov. 30).
> 
> You can see a list of the contents, and order a copy, here:
> 
> http://www.boydell.co.uk/43830817.HTM
> 
> When it says "Revised and enlarged edition," that's an understatement.
> Those of you who already know the first edition as *the* word in dress in
> this period will be delighted by the wealth of new information --
> including much archaeological evidence -- in this book. I have only seen
> bits and pieces so far, so I look forward to some surprises when I get to
> read the whole thing.
> 
> Those of you who go to the International Medieval Congresses at Kalamazoo
> or Leeds should be able to get the book at conference discount, if you can
> wait that long ;-)
> 
> --Robin

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And when you go look for this Dress in Anglo=Saxon England,  YOUR book 
pops up as one of the Customers who shopped for this item also shopped 
for .....

*
*Robin Netherton wrote:

>Following up my own post (below): An alert correspondent tells me that
>Amazon is selling this for $31.50. Great price for a hardback, and much
>cheaper than Boydell's $50 U.S. price, and better than the usual 20%
>discount for professional societies, conference attendees, etc. I am told
>the print run was 3,000, which is a lot for an academic book, but a small
>run by other standards.
>
>--Robin
>  
>

Customers who shopped for this item also shopped for these items:

    * Medieval Military Costume (Europa Militaria Special, 8) by Gerry
      Embleton
    * Medieval Clothing and Textiles 1 (Medieval Clothing and Textiles)
      by Robin Netherton



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On Fri, 26 Nov 2004, Home Ec wrote:

> And when you go look for this Dress in Anglo=Saxon England,  YOUR book 
> pops up as one of the Customers who shopped for this item also shopped 
> for .....

No fair! It didn't for me!

But see next post...

--Robin

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Subject: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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[Feel free to forward this to other relevant lists, as long as (1) you
keep this message intact, including this paragraph and my name and
e-dress, and (2) you copy me in so I know where the message is going.]

Many of you will remember me posting last year to announce a new academic
journal, _Medieval Clothing & Textiles_. The publisher is Boydell &
Brewer; the editors are Gale Owen-Crocker and myself. At that time, I
promised I would update you when I had solid information on publication
date and ways to order.

Boydell now has the journal up on its website, for pre-order. It's
scheduled for April 2005; we'll be celebrating its launch at Kalamazoo in
May. You'll find the page here:

http://www.boydell.co.uk/43831236.HTM

Some of you will remember that there was a question about the format and
cost of the journal. We're well aware that many of our readers will be
serious re-enactors who want to keep up with scholarly research, but whose
budgets are quite different from that of an academic library or
professional scholar. Boydell normally publishes its journals in a
high-quality hardback, priced around $75 US (45 GBP). We argued
strenuously for Boydell to consider publishing our journal in a cheaper
paperback edition, to make it more accessible to purchasers outside
academe.

It appears we ended up with the best of both worlds. The journal will be
published in hardback -- but at the far more reasonable price of $39.95
USD (25.00 GBP). This is far better than I expected, and I hope that falls
within the purchase threshold for at least some of you! (I campaigned for
a lower price largely on the promise that it would increase sales among
independent researchers, so I hope I won't be proven wrong.)

As I've written earlier, it's a scholarly journal touching on a wide range
of fields (literature, art, economics, archaeology, etc.), so we don't
expect it to appeal to all medieval costumers, and not everyone will find
their own interest areas covered in every volume. But we're aiming for a
large spread in time/place representation in each one, so with luck there
will be something for most readers who are interested in scholarly
research. (We're also aiming to include at least one paper based on
experimental reconstruction in each volume.)

The first volume includes the following papers:
 -- an overview (complete, we hope) of all known examples of European
embroidery before 1100 (Elizabeth Coatsworth)
 -- a literary analysis of textile imagery in Anglo-Saxon riddles and
poetry (Maren Clegg-Hyer)
 -- a study of an illumination showing royal dress in an Anglo-Saxon
manuscript (Gale R. Owen-Crocker)
 -- a look at clothing color references in Icelandic sagas (Sandra Ballif
Straubhaar)
 -- an account of a particular technological change in the construction of
medieval fulling mills (John Muendel)
 -- two different papers on regulations on clerical dress, 13th-14th c.
(one by Susan M. Carroll-Clark and another by Thomas M. Izbicki)
 -- a comparison of theories about tippet construction and attachment in
14th century Western Europe (Robin Netherton)
 -- a summary of dress and textile references in a group of late medieval
English wills (Kristen M. Burkholder)
 -- a theory and experimental reconstruction of a method of weaving 15th
century ruffled-edge veils (Carla Tilghman).

And some book reviews, too.

The plans right now are for a print run of 1,000. That's good for a
specialty journal, and is meant to cover all the libraries and individual
specialists who will want copies. I would guess that if there's a huge
demand in pre-orders, Boydell would increase the print run to cover it,
but I'm not planning on that. So, when it's gone, it's gone -- I wouldn't
plan on buying a copy of Vol. 1 a year or two down the road.

Feel free to direct any questions to me.

--Robin Netherton
Co-Editor, Medieval Clothing & Textiles
robin@nightowl.net




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I have a quick question:

>  -- a summary of dress and textile references 
> in a group of late medieval English wills (Kristen 
> M. Burkholder)

What years does this cover?

-E House
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Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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>
>It appears we ended up with the best of both worlds. The journal will be
>published in hardback -- but at the far more reasonable price of $39.95
>USD (25.00 GBP). This is far better than I expected, and I hope that falls
>within the purchase threshold for at least some of you! (I campaigned for
>a lower price largely on the promise that it would increase sales among
>independent researchers, so I hope I won't be proven wrong.)
>  
>
It doesn't actually cost _that_ much more to publish a hardback than a 
paperback.  All costs except the binding and the shipping weight are 
pretty much identical.  The number of pages in the book, the trim size 
(length and width dimensions), the number of illustrations, and the use 
of color are far more important factors in terms of manufacturing costs 
and later, what consumers get for their money. 

The consumer can get a very rough estimate of value per page by dividing 
the book price by the number of pages.  For example--assuming the trim 
size and type and number of illos are similar--a 192-page $39.95 book is 
about 20 cents per page value to the consumer, and equivalent to a 
350-page book with a cover price of  $70. 

How many people (numbers) did you come up with for "reenactors 
interested in the subject," where did you get the numbers, and how did 
you derive the percentages of "reenactors likely to buy" from 
"reenactors interested in the subject?"  I've gotten really lazy about 
that, I just rely on sales data  for previous books.

Fran

>  
>
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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On Fri, 26 Nov 2004, E House wrote:

> I have a quick question:
> 
> >  -- a summary of dress and textile references 
> > in a group of late medieval English wills (Kristen 
> > M. Burkholder)
> 
> What years does this cover?

The author analyzed a group of 550 wills dating from between 1327 and
1487, from London and Canterbury, representing men and women from the
artisan class up through the nobility. She did extensive statistical
analysis of things like likelihood of textile bequests by social status,
numbers of textile items bequeathed by occupational class and gender, etc.

--Robin


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering
  update
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>
>
>[Feel free to forward this to other relevant lists, as long as (1) you
>keep this message intact, including this paragraph and my name and
>e-dress, and (2) you copy me in so I know where the message is going.]


I belong to the Medieval Dress and Textiles Society, and I feel sure they 
will be very interested in this. Also if anyone in England belongs to the 
Living History Forum, it might be worth posting a brief note there (I don't 
post, for personal reasons, but I do read a lot of posts there.) You will 
be notifying the Costume Society, (English) I take it? Heavy hint - I could 
do a review of it if I had a copy?


>Many of you will remember me posting last year to announce a new academic
>journal, _Medieval Clothing & Textiles_. The publisher is Boydell &
>Brewer; the editors are Gale Owen-Crocker and myself. At that time, I
>promised I would update you when I had solid information on publication
>date and ways to order.
>
>Boydell now has the journal up on its website, for pre-order. It's
>scheduled for April 2005; we'll be celebrating its launch at Kalamazoo in
>May. You'll find the page here:
>
>http://www.boydell.co.uk/43831236.HTM
>
>Some of you will remember that there was a question about the format and
>cost of the journal. We're well aware that many of our readers will be
>serious re-enactors who want to keep up with scholarly research, but whose
>budgets are quite different from that of an academic library or
>professional scholar. Boydell normally publishes its journals in a
>high-quality hardback, priced around $75 US (45 GBP). We argued
>strenuously for Boydell to consider publishing our journal in a cheaper
>paperback edition, to make it more accessible to purchasers outside
>academe.
>
>It appears we ended up with the best of both worlds. The journal will be
>published in hardback -- but at the far more reasonable price of $39.95
>USD (25.00 GBP). This is far better than I expected, and I hope that falls
>within the purchase threshold for at least some of you! (I campaigned for
>a lower price largely on the promise that it would increase sales among
>independent researchers, so I hope I won't be proven wrong.)
>
>As I've written earlier, it's a scholarly journal touching on a wide range
>of fields (literature, art, economics, archaeology, etc.), so we don't
>expect it to appeal to all medieval costumers, and not everyone will find
>their own interest areas covered in every volume. But we're aiming for a
>large spread in time/place representation in each one, so with luck there
>will be something for most readers who are interested in scholarly
>research. (We're also aiming to include at least one paper based on
>experimental reconstruction in each volume.)
>
>The first volume includes the following papers:
>  -- an overview (complete, we hope) of all known examples of European
>embroidery before 1100 (Elizabeth Coatsworth)
>  -- a literary analysis of textile imagery in Anglo-Saxon riddles and
>poetry (Maren Clegg-Hyer)
>  -- a study of an illumination showing royal dress in an Anglo-Saxon
>manuscript (Gale R. Owen-Crocker)
>  -- a look at clothing color references in Icelandic sagas (Sandra Ballif
>Straubhaar)
>  -- an account of a particular technological change in the construction of
>medieval fulling mills (John Muendel)
>  -- two different papers on regulations on clerical dress, 13th-14th c.
>(one by Susan M. Carroll-Clark and another by Thomas M. Izbicki)
>  -- a comparison of theories about tippet construction and attachment in
>14th century Western Europe (Robin Netherton)
>  -- a summary of dress and textile references in a group of late medieval
>English wills (Kristen M. Burkholder)
>  -- a theory and experimental reconstruction of a method of weaving 15th
>century ruffled-edge veils (Carla Tilghman).
>
>And some book reviews, too.
>
>The plans right now are for a print run of 1,000. That's good for a
>specialty journal, and is meant to cover all the libraries and individual
>specialists who will want copies. I would guess that if there's a huge
>demand in pre-orders, Boydell would increase the print run to cover it,
>but I'm not planning on that. So, when it's gone, it's gone -- I wouldn't
>plan on buying a copy of Vol. 1 a year or two down the road.
>
>Feel free to direct any questions to me.
>
>--Robin Netherton
>Co-Editor, Medieval Clothing & Textiles
>robin@nightowl.net
>
>
>
>
>_______________________________________________
>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] Medieval Clothing & Textiles Journal: Ordering update
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I wrote:

> (I campaigned for a lower price largely on the promise that it would
> increase sales among independent researchers, so I hope I won't be
> proven wrong.)

Fran asked:

> How many people (numbers) did you come up with for "reenactors
> interested in the subject," where did you get the numbers, and how did
> you derive the percentages of "reenactors likely to buy" from
> "reenactors interested in the subject?"  I've gotten really lazy about
> that, I just rely on sales data for previous books.

I didn't come up with numbers. I'm not doing marketing or determining
print runs, just supplying useful information to the publisher's marketing
department so they can make decisions accordingly.

What I did was point out that our buying audience was likely to be
different from what the publisher typically expected for its academic
journals (i.e. institutional libraries and a handful of specialist
scholars who want their own copies). We know from our own contacts (as
many people on this list would know!) that there's a healthy community of
reenactors, living history people, and costumers who are buying "academic"
publications, such as paper collections and journals, for their personal
libraries. Boydell has already recognized the tremendous demand for its
material culture books (the MoL books, Newton, etc.) from this group -- if
you look at their home page, you'll see a prominent button for books of
interest to re-enactors. We made the case that this journal, unlike
Boydell's other academic journals, would also appeal to this market, and
would thus benefit from the sort of marketing approach Boydell uses for
material culture books rather than its standard approach for journals such
as "Arthurian Literature."

The closest thing I got to offering numbers was pointing out that within a
week of posting on h-cost about the new journal -- more than a year before
it was to hit print -- I got over 100 private e-mail inquiries from
re-enactors asking me where they could order it.

--Robin



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Date: Fri, 26 Nov 2004 13:22:31 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering  update
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On Fri, 26 Nov 2004, Suzi Clarke wrote:

> I belong to the Medieval Dress and Textiles Society, and I feel sure
> they will be very interested in this.

Yep, particularly since two of our editorial board members are Frances
Pritchard and Kay Lacey ;-) I personally hope that some of the many
unpublished papers presented at MEDATS meetings will eventually find their
way into the journal.

> You will be notifying the Costume Society, (English) I take it? Heavy
> hint - I could do a review of it if I had a copy?

We're asking that a review copy be sent to the Costume Society; I don't
have control over who they ask to review it, but you might contact their
reviews editor if you want to volunteer.

--Robin


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Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
> The author analyzed a group of 550 wills dating from between 1327 and
> 1487, from London and Canterbury, representing men and women from the
> artisan class up through the nobility. She did extensive statistical
> analysis of things like likelihood of textile bequests by social status,
> numbers of textile items bequeathed by occupational class and gender, etc.

Thanks! Sigh, how much would I love something similar from the lowlands and 
parts of southern France c1375-1525...

-E House, feeling really lazy about doing her own research lately 

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From: Lavolta Press <fran@lavoltapress.com>
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Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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>I didn't come up with numbers. I'm not doing marketing or determining
>print runs, just supplying useful information to the publisher's marketing
>department so they can make decisions accordingly.
>
>What I did was point out that our buying audience was likely to be
>different from what the publisher typically expected for its academic
>journals (i.e. institutional libraries and a handful of specialist
>scholars who want their own copies). We know from our own contacts (as
>many people on this list would know!) that there's a healthy community of
>reenactors, living history people, and costumers who are buying "academic"
>publications, such as paper collections and journals, for their personal
>libraries. 
>  
>

OK, I'm curious.  But you said the journal had a projected print run of 
1,000.  That's a tiny run, small enough to make the unit cost (cost per 
copy) of manufacturing the book very high.  Many offset printers won't 
even accept a job that small. (We're a tiny press serving a niche 
market, and our print runs are about 5,000 copies, which is about as low 
as even offset printers serving the small press market will go.)  This 
affects the cover price.  $39.95 is a fairly high cover price for a 
132-page book (which is the length it's supposed to be?), though I don't 
know the book's trim size, number of illos, or use of color.  It is 
still an entirely fair price, given what I suspect are the manufacturing 
costs, and I myself will be happy to pay it.  

But I would say a projected print run of 1,000 does not speak optimism 
about a large reenactor market (or any market).  I'd guess the 
publisher's main market is university libraries plus a few professors.  
And that previous experience has given the publisher a very good idea as 
to how many copies of similar books they sell and who they sell them to, 
including many names and addresses.  So it would be interesting to know 
if this is a larger run than usual for them. 

We get unsolicited book proposals from time to time.  One thing many 
aspiring authors don't seem to understand is how to do market research.  
Of course, the book itself must be of good quality, the author must be 
competent, any illustrators or others working with the author must be 
competent.  But the main question is and must be whether the book will 
make money.  Even for an academic or nonprofit publisher, publishing 
costs are substantial and must be recouped for the publisher to stay in 
business.  The most wonderful book without a sufficiently defined and 
targeted market usually is, and should be, rejected. 

You can't sell a publisher on a book with enthusiasm and vague 
statements that "lots of people are interested in this topic."  You need 
to research exactly what people, how to reach them, and how many of them 
there are.  You need to explain where you got your data, and in the 
process provide ways for the publisher to check it.  Which their 
marketing department will, and they want figures as real as they can get 
them.  And the figures have to be a lot more impressive than you'd 
think.  For any of a large variety of reasons, a person being interested 
in a subject or working in a field usually does _not_ translate into 
their buying that particular book.  For example, look at figures for 
direct mail to a well-targeted audience--a 5% or so purchase rate is 
pretty good.

If anyone wants to do marketing research for a book proposal, there are 
detailed instructions  in most  books on how to write a book proposal.  
I used to do it, but as our sales became stable I started relying mostly 
on sales data for previous books.

Fran
Lavolta Press
http://www.lavoltapress.com







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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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On Fri, 26 Nov 2004, Lavolta Press wrote:

> $39.95 is a fairly high cover price for a 132-page book (which is the
> length it's supposed to be?)

It's listed as 192 pages. That must be an estimate, as it's not in type
yet (that's in process now).

> But I would say a projected print run of 1,000 does not speak optimism
> about a large reenactor market (or any market).  I'd guess the
> publisher's main market is university libraries plus a few professors.  
> And that previous experience has given the publisher a very good idea
> as to how many copies of similar books they sell and who they sell
> them to, including many names and addresses.  So it would be
> interesting to know if this is a larger run than usual for them.

It is a larger run than usual for a new, specialized academic journal,
yes. I do not know how it compares to, say, a collection of essays in the
same field.

I would not expect this journal to sell to a large re-enactor market --
not like the Museum of London books, or Gale Owen-Crocker's new edition of
"Dress in Anglo-Saxon England." It's still a specialist journal. But
there's a certain proportion of re-enactors who do buy specialist
journals, and that does expand the market beyond the usual academic
audience. So Boydell upped the print run accordingly. I suppose that if
there's a screaming demand for it in the next few months that outpaced
their estimates of the add-on non-academic market, they'd up it again. But
I'm not expecting that to happen. I'm simply glad they've allowed for
additional interest from people outside the usual range of libraries and
professors.

The people at Boydell are highly experienced and have shown themselves to
do a good job on other publications I care about, so I trust they know
their business in these matters. Better than I do, when it comes to
numbers and prices. My experience in that part of the trade is not in
academic journals, which operate differently from trade books or consumer
magazines or any other segment. Academic journals and series provide the
backbone income that keeps Boydell's press running, and I'm glad to be
working with a publisher that's this experienced and respected in this
field.

> We get unsolicited book proposals from time to time.  One thing many
> aspiring authors don't seem to understand is how to do market
> research.... You can't sell a publisher on a book with enthusiasm and
> vague statements that "lots of people are interested in this topic."

Perhaps I should make clear at this point that Gale and I did not approach
Boydell about the journal. Boydell came to us, explained that they wanted
to add a journal on this topic to their current range of journals, and
asked if we would serve as editors (based on our experience, reputation,
and contacts in the field). This is a very different situation from the
one you describe. 

But certainly your points are quite germane for people seeking to find a
publisher for their book (or book idea).

--Robin

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 >The plans right now are for a print run of 1,000. That's good for a
specialty journal, and is meant to cover all the libraries and individual
specialists who will want copies. I would guess that if there's a huge
demand in pre-orders, Boydell would increase the print run to cover it,
but I'm not planning on that. So, when it's gone, it's gone -- I wouldn't
plan on buying a copy of Vol. 1 a year or two down the road.

So does this mean that even if it is popular, it won't be reprinted.  Does this mean I'll have to order all the copies I think I can possibly sell before I even see it?  

By the way, I called Boydell a few weeks ago re the A/S clothing book and told them that I would carry your journal and expected it to be reasonably popular if they kept the price reasonable.  The man I talked to said they would be hosting a meeting from the home office shortly and he would see that the word was passed on to the decision makers.

Janet

Janet Davis
Castle Furnishings
www.medievalbookstore.com

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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On Fri, 26 Nov 2004, JAMES OGILVIE wrote:

> So does this mean that even if it is popular, it won't be reprinted.  
> Does this mean I'll have to order all the copies I think I can
> possibly sell before I even see it?

I have no clue! I've known Boydell to reprint other books, but I don't
know if they ever reprint journals. You'll get a more informed answer from
your contacts there, I think. (They don't tell us authors/editors very
much.)

> By the way, I called Boydell a few weeks ago re the A/S clothing book
> and told them that I would carry your journal and expected it to be
> reasonably popular if they kept the price reasonable.  The man I
> talked to said they would be hosting a meeting from the home office
> shortly and he would see that the word was passed on to the decision
> makers.

Janet, that may have made a difference. Thank you!

--Robin

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>It is a larger run than usual for a new, specialized academic journal,
>yes. I do not know how it compares to, say, a collection of essays in the
>same field.
>  
>
Whis what it is--an annual series rather than what I'd call a journal.  
But if you call it a journal you can more easily get a commitment to a 
"subscription" and secure recurring annual purchases.  An excellent 
marketing ploy.

>I would not expect this journal to sell to a large re-enactor market --
>not like the Museum of London books, or Gale Owen-Crocker's new edition of
>"Dress in Anglo-Saxon England." It's still a specialist journal. But
>there's a certain proportion of re-enactors who do buy specialist
>journals, and that does expand the market beyond the usual academic
>audience. So Boydell upped the print run accordingly.
>

I'm sure they know what they're doing, but it is a very, very small 
print run for any book.

>The people at Boydell are highly experienced and have shown themselves to
>do a good job on other publications I care about, so I trust they know
>their business in these matters. Better than I do, when it comes to
>numbers and prices. 
>
Of course, but it's very helpful and usual for authors to do such 
research and for the marketing department to then check their research. 

>I'm glad to be
>working with a publisher that's this experienced and respected in this
>field.
>  
>
No question that they are a very good press.  And as a professional copy 
editor for medical publications, I assume you've worked with many good 
publishers and know the routine.  (I've read your excellent posts on 
copyediting-L, though I only lurk there, I don't post.)

>Perhaps I should make clear at this point that Gale and I did not approach
>Boydell about the journal. 
>  
>
<snip>

>But certainly your points are quite germane for people seeking to find a
>publisher for their book (or book idea).
>
>
>  
>

At most publishers it is usual for the most senior editor for the 
project (the project editor) to adopt or "champion" his/her books.  
Junior editors on the project--manuscript editors, copy editors, and 
such--don't have to do this.)  And to convince the marketing department 
the book will sell, providing figures and information on how the 
marketing department can reach buyers.

But you're right, this is not expected of freelancers.  They just go off 
and edit the text.

Fran
Lavolta Press
http://www.lavoltapress.com
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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On Fri, 26 Nov 2004, Lavolta Press wrote:

> Whis what it is--an annual series rather than what I'd call a journal.  
> But if you call it a journal you can more easily get a commitment to a
> "subscription" and secure recurring annual purchases.  An excellent
> marketing ploy.

Would you say the same of the journal Costume? It, and many other academic
journals, are annuals. Journals differ from series publications and essay
collections in a variety of ways relating to content, theme, structure,
continuity, editorial board, and review process -- and the reference
librarian on our editorial board says there's also a world of difference
when it comes to bibliographical indexing and later accessibility.

> No question that they are a very good press.  And as a professional
> copy editor for medical publications, I assume you've worked with many
> good publishers and know the routine.  (I've read your excellent posts
> on copyediting-L, though I only lurk there, I don't post.)

Thank you for the compliment. Actually, only about half my freelance
business is medical; the rest is in a variety of subject areas, and runs a
range of trade books, reports, newsletters, website content, and more. And
perhaps less than half of my work is copyediting; I am primarily a
substantive/developmental editor, although I offer the full range of
services, down to proofs as needed. (I swore, though, that when I left my
last fulltime post, that I would no longer do 3am press checks.) I have
worked full-time for publishers in several fields -- book, newspaper,
nonprofit magazine, more. This, however, is my first deep involvement in
academic journal publishing, and the differences are striking. As I watch
the process unfold, I am seeing the reasons behind quite a number of
procedures that struck me as quirky when I started.

> At most publishers it is usual for the most senior editor for the
> project (the project editor) to adopt or "champion" his/her books.
> Junior editors on the project--manuscript editors, copy editors, and
> such--don't have to do this.)  And to convince the marketing
> department the book will sell, providing figures and information on
> how the marketing department can reach buyers.

There is a project editor on staff at Boydell who has that "champion" role
on our project. That person is the one who conceived of the idea in the
first place and solicited Gale and me to serve as editors.

> But you're right, this is not expected of freelancers. They just go
> off and edit the text.

Nor is it expected of an academic journal editor, but I should note that
this is not the same thing as a freelancer. In other words, there is an
extra slot in the chart in the case of a peer-reviewed academic journal --
there's the project editor (on staff at the publisher), and the journal
editor(s), and many individual contributors, and a freelance copyeditor
who comes in much later down the line (as well as all the usual staff in
production, art, marketing etc.).

The difference between a freelance editor (my non-academic,
bread-and-butter work) and the role of an academic journal editor (who
generally is not a professional editor) is extensive. The journal editor
acts as a developmental editor in dealing with the individual
contributors, but plays the role of meta-author when dealing with the
publisher. Gale and I choose the contributors, nail them down on topic and
focus, work closely with them throughout the article writing process,
cajole them at deadline time, find reviewers who understand the topics and
are respected in the field, act as go-between, work with the authors over
revisions, sit on them or encourage them as needed, and then figure out
whether we have enough papers that actually made it through the mill to
make a full volume.

Journal editors are supposed to follow certain editing guidelines, but
typically are not copyeditors themselves, so the publisher sends the
"completed" manuscript to a freelance copyeditor. We are unusual in that I
also copyedited the manuscript before I turned it in -- this meant more
(unpaid) work for me, but it should ensure a smoother process, a cleaner
proof, a better final product, and happier contributors.

So, you're right, our role does not require that we do the marketing --
though, as the experts in our field, we supply a lot of information (names
and addresses of relevant professional organizations, other publications
that might review ours, suggestions on conferences and other markets for
sales, etc.). But it's also not "just go off and edit the text."

--Robin




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>Thank you for the compliment. Actually, only about half my freelance
>business is medical; the rest is in a variety of subject areas, and runs a
>range of trade books, reports, newsletters, website content, and more. And
>perhaps less than half of my work is copyediting; I am primarily a
>substantive/developmental editor, although I offer the full range of
>services, down to proofs as needed. 
>
Yeah, I started my publishing career as a freelance 
developmental/manuscript and copy editor.  I did in-house work, I did 
freelance work at the same time, though there was a period of maybe a 
year?  when I was exclusively a freelancer.  As a freelancer you have to 
be willing to do any editorial work for anybody at any time.  I was a 
heavy-rewrite editor for an academic technical journal, at the same time 
I was a proofreader for a football magazine, I did all kinds of stuff.  
I did indexing and freelance writing, too.

>I have
>worked full-time for publishers in several fields -- book, newspaper,
>nonprofit magazine, more.
>
Same here.   Minus the newspapers, and plus some corporations.

> This, however, is my first deep involvement in
>academic journal publishing, and the differences are striking. As I watch
>the process unfold, I am seeing the reasons behind quite a number of
>procedures that struck me as quirky when I started.
>  
>
Every publisher has slightly different procedures.  My memory of working 
as a developmental editor for the academic technical journal is that I 
at least got paid the going rate.  The academic/editor who hired me 
didn't get paid, as far as I know, or got only an honorarium.  The 
authors weren't getting paid either.  They viewed publishing as a step 
to career advancement  but not as a means of earning money.  The ones I 
knew had good jobs at universities or in the industry, but I've still 
always felt it's not really fair.

>We are unusual in that I
>also copyedited the manuscript before I turned it in -- this meant more
>(unpaid) work for me, but it should ensure a smoother process, a cleaner
>proof, a better final product, and happier contributors.
>  
>
Last time I was an in-house project editor (for a midsize trade book 
publisher), that publisher required all authors to follow the house 
style and presented them with a 100-page house manual detailing it, plus 
strong encouragement to read the _Chicago Manual of Style_.  Our authors 
were supposed to do part of the page formatting too. I had to do a fair 
amount of training for authors new to writing or even new to that 
publisher.  Most authors did their best (a few refused).  It greatly cut 
down on the copy editors'  work. 

This was unusual at the time, but is now fairly common from what I've 
heard.  It makes sense, considering authors usually go over their work 
before submitting it to correct spelling, capitalization etc. to their 
own standards.  And many wanted to make the pages look attractive, 
according to their own standards, even if told the production department 
would use an entirely different design.  So the author might as well 
know and use the publisher's house style to begin with. 

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

>  
>
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Fran:

I recently wrote a book for Arcadia Publishing, which specializes in
regional history. The books (they have done about 2000) all share the same
format and size, and all sell for $19.99. They are perfect-bound and printed
on really nice, heavy coated paper. I did this as a personal project for my
neighborhood (authors typically get about $1000 in royalties, my editor told
me) rather than as a money-maker, so they don't pay much for the authors --
one cost-savings for the publisher! But they are not pay-to-print.

 The point of this is that the print run is between 1,000 and 2,000. They do
this by having a shared format and ganging the books so they don't just do
1-2000 press runs. I assume they use large web presses, because of the
quality of the books. Anyway, there are ways to do small press runs
affordably, even on offset presses (vs. digital presses or copiers, which is
how the whole on-demand printing industry works).

An academic publication would be more difficult to do this with, because for
regional history books the market is small geographically, but varied, while
an academic market is large (geographically) but narrow.

Gail Finke

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Greetings,

I found a wool I rather like (well two) one is a herringbone pattern (black and white) the other a plaid (navy and black) Are they suitable for english merchant clothing of the late 1500's? (1550-1580?)

Thank you, Angelique


		
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> The point of this is that the print run is between 1,000 and 2,000. They do
>this by having a shared format and ganging the books so they don't just do
>1-2000 press runs. I assume they use large web presses, because of the
>quality of the books. Anyway, there are ways to do small press runs
>affordably, even on offset presses (vs. digital presses or copiers, which is
>how the whole on-demand printing industry works).
>
>
>  
>

Print on demand (POD) printing does have a high unit cost and 
furthermore, does a poor job of printing illustrations.  We would never 
use it for the latter reason.  It's esentially the quality of laser 
printing or a good photocopy.  Of course, there is always the 
possibility that the equipment will improve over time.  If the quality 
ever equals offset I'd consider it.

Other than that (barring real homebrew methods) the only choice is 
offset printing.  If by "shared format" you mean all the books have the 
same interior design, that way the publisher saved a little money on 
book design costs.  But not on manufacturing (printing and binding) 
which is much more expensive. If by "ganged" you mean the publisher got 
a discount for giving the printer a lot of business, yes, that can 
certainly be done, if the publisher has enough business to give that 
printer in a short enough time frame.  But it does take a fairly 
good-sized publisher to pull that off.  We've had books printed by both 
sheetfed and web presses, depending on which press the printer wanted to 
keep "busy." (It can be more economical for a printer to print a short 
run on their web press then to let the press sit idle.)  The results 
were identical in quality.  We even have a couple books where one 
signature was printed on a web press and the rest of the book on a 
sheetfed.  It is true that web presses are supposed to be more 
economical for huge runs; but what saves money is the huge run, not the 
press.  That is why bestsellers cost less.  However, you can't print a 
large run of a niche (specialty) book; it's just a waste of money (and 
warehouse space) to print copies that don't sell.

There is no miracle production method that enables a publisher to 
dramatically lower costs.  All publishers do their best to get the best 
print price.  The method for this is simple. 

It is necessary to have a specialized book printer, and there are only a 
few dozen of them in the US.  Then all book printers specialize as to 
the size of the runs they will do.  Most will not print a run of fewer 
than 10,000 books.  Many will only print certain trim sizes--for 
example, some do not print 8 1/2" by 11" books.  Some will not print 
illustrated books, or at least not well. Of those who will, some will do 
color illustrations and some not, some will do a good job with 
halftones, some only do line art well, some only do simple line art well 
but not elaborate engravings with a lot of fine lines.  Then of course, 
some printers are just better than others; and some guarantee their work 
(as nondefective) and some do not.

So, for us there are about seven printers in the US who could do our 
jobs adequately (not necessarly to best quality).  But we'd only be 
willing to work with about five of them.  We don't, for example, want to 
work with one who never bothers to give us the quotes we request even 
though they theoretically do exactly our type of job. 

Here's where the simple method comes in:  Once the publisher identifies 
the printers who can technically do that particular job, and weeds out 
one or two with crummy samples or references, the publisher does what is 
called an RFQ--request for quotation. That is, the publisher approaches 
the printers' sales reps and gives them a great deal of detail about the 
job, including, at this time, discussing file compatibility and 
suchlike.  We always have the printer run some of our more difficult 
illustrations off their imagesetter. 

Then the publisher compares the quotations, plus the impressions given 
by the printers during the sales process, plus any samples provided, 
plus any references from other publishers. Usually the price quotes are 
all in the same ballpark.  If not it's time to find out whether the 
printer with an unusual quote really understands the book specs. While 
there's no harm in saving a few hundred dollars, that, or even saving 
two or three  thousand dollars, is a drop in the cost bucket. It is not 
likely to have any strong effect on the unit price or the resulting 
cover price. 

We've always dutifully gotten quotes from the same handful of printers, 
and explored others only to find out they don't do our type of job.   
We've ended up with the same printer for the last five books. They are 
the only one of the handful who, in addition to printing exactly our 
type of book, provide good samples of our illos. Furthermore they are 
reputed to be among the best book printers and we know from experience 
that they fully guarantee their work. 

As I said, there's nothing really different in printing methods that 
saves tons of money. There's not even necessarily much choice in printers. 

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






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In case you ever get into choosing printers:  The trim size of a book, 
the number of pages, the number and type of illustrations, all have a 
very strong effect on the unit manufacturing cost.  You don't give your 
unit cost or how it was derived.  But in terms of cover price, one book 
can't be sold for $19.99 just because some other book with different 
specs can be sold for $19.99 or even $6.50.

The second issue:  Commercial publishers must sell at least some books 
(often most copies) through wholesalers, who typically take a 55% 
discount off the cover price.  Or, to be carried by certain very 
important (pretty much essential) wholesalers, some publishers sell to a 
distributor who sells to wholesalers.  Distributors can take as much as 
an 80% discount off the cover price.  Naturally the cover price has to 
take all that into account.  Yes, you can decide to sell only direct to 
consumers.   For noncommercial (hobbyist) books,  this is just fine.  
But a commercial publisher needing to move a commercial quantity of 
copies has to sell through wholesalers (or maybe distributors) and price 
the book accordingly.

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

>
>I recently wrote a book for Arcadia Publishing, which specializes in
>regional history. The books (they have done about 2000) all share the same
>format and size, and all sell for $19.99. They are perfect-bound and printed
>on really nice, heavy coated paper. I did this as a personal project for my
>neighborhood (authors typically get about $1000 in royalties, my editor told
>me) rather than as a money-maker, so they don't pay much for the authors --
>one cost-savings for the publisher! 
>
>  
>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
Date: Fri, 26 Nov 2004 20:43:42 -0500
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On Friday 26 November 2004 12:40 pm, Robin Netherton wrote:
[snip]

> It appears we ended up with the best of both worlds. The journal will be
> published in hardback -- but at the far more reasonable price of $39.95
> USD (25.00 GBP). This is far better than I expected, and I hope that falls
> within the purchase threshold for at least some of you! (I campaigned for
> a lower price largely on the promise that it would increase sales among
> independent researchers, so I hope I won't be proven wrong.)

Sigh.  I'm very interested, but at $40 USD it's still a bit hard for me to 
justify the purchase, especially since I'm yearning for several different 
books in the same price range right about now.  (I've already ordered the 
updated Dress in Anglo-Saxon England, for example).

I'd like you to know that I appreciate the work you and Ms. Owen-Crocker have 
done, as well as your advocacy with the publisher to lower the price.  I hope 
to be able to spring for the $40 by April.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Hi, All. I got my copy the other day, and have been looking it over 
peripherally. I especially like the info about how some of the edges 
were finished. When I get around to it, I will give it a thorough read. 
Enjoy, Mike T.


>
> Woven into the Earth: Textile finds in Norse Greenland
> by Else Ostergaard
>
>
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Subject: Re: [h-cost] Medieval Clothing & Textiles Journal: Ordering update
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Greetings--

> I'm sure they know what they're doing, but it is a very, very small
> print run for any book.

Actually, it's not for an academic press title these days.  I remember
reading somewhere (either in This Week in Academe or one of the AHA
publications) that even very favourably-received academic press books often
sell as few as 300 copies, particularly if the topic is fairly specialized.
(The context of the article was that academics are always being pressured to
publish, but are rarely able to make much money off their books unless they
target a more "popular" audience.)

Susan


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Yow!  Given the number of university libraries in the US, that's 
pathetic sales.  And a really expensive print run.

Fran

Susan Carroll-Clark wrote:

>Greetings--
>
>  
>
>>I'm sure they know what they're doing, but it is a very, very small
>>print run for any book.
>>    
>>
>
>Actually, it's not for an academic press title these days.  I remember
>reading somewhere (either in This Week in Academe or one of the AHA
>publications) that even very favourably-received academic press books often
>sell as few as 300 copies, particularly if the topic is fairly specialized.
>(The context of the article was that academics are always being pressured to
>publish, but are rarely able to make much money off their books unless they
>target a more "popular" audience.)
>
>Susan
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>  
>
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Subject: [h-cost] Cassimere???
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Mt husband is doing some research into John Wilkes Booth and one of the 
books states that they found "cassimer" trousers in his room.  I'm guessing 
this would be a 19th century version of cashmere, but it could be a style of 
trouser that I don't know.  Anyone know?

Thanks,
Kate 


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Subject: Re: [h-cost] Cassimere???
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This term had confused me, too.  It is not cashmere, though, but  rather a 
blended fabric--I'm out of town, away from my reference books, but I  think, if 
memory serves, that it is a wool and cotton blend.
 
Ann Wass
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Subject: Re: [h-cost] Cassimere???
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> This term had confused me, too.  It is not cashmere, though, but  rather a
> blended fabric--I'm out of town, away from my reference books, but I 
> think, if
> memory serves, that it is a wool and cotton blend.
>
> Ann Wass

Makes sense to me.
Thanks.
Kate 


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"Cassimere.  A fine, heavy, all wool fabric, twilled, and called in England,
Kerseymere.  It is made plain, and with mixed colors; also in stripes and
fancy patterns.  In the best qualities the warp is nearly twice as large as
the woof.  An inferior quality has a cotton warp...."

This is from "Scissors and Yardstick or All About Dry Goods" published in
1872 in Hartford, CT.



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Subject: [h-cost] thoughts on a sleeve
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I have been looking at some late 1400s dresses of which I am thinking of
making.
This dress,
http://www.kfki.hu/~arthp/art/m/master/xunk_it/xunk_it3/sacrati.jpg

I have found to be quite curious.
The sleeve seems to have a black cuff. I have been trying to figure out how
it is apart of the sleeve.
Is it a part of the lining of the sleeve and the end of the sleeve is turned
back exposing the lining? is it a false sleeve over a black sleeve? the
under dress looks to be the same material as the sleeve and the black, I am
assuming is the overdress (brain fog, can't remember the appropriate name
for it) The whitish part on the black dress is a "shawl"(?).
What I also find fascinating about this painting is that it shows the mans
side and it would apart that he is wearing a tabard.
Anyway, what is your take on the sleeve?

De


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Date: Sat, 27 Nov 2004 17:02:48 -0500
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Subject: [h-cost] 1860's ballgown question
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Does anyone know what a good rule of thumb would be for deciding the
circumference of hoops to go under a 1863-1864 ballgown? I have yet to
be able to find any period references to circumference measurements, and
the extant samples I have seen are usually either for daywear or too
late-period to be useful. Extant ballgowns themselves seem to be far
more generously proportioned than the 110-120 inches recommended on a
few sites.

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Subject: Re: [h-cost] thoughts on a sleeve
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Status: RO

The black part seems to be puffier than the orange, so I wouldn't think that 
the black is a separate sleeve under the orange, false or otherwise. If you 
look closely, you can see the seam along the side of her arm on the orange 
part continues into the black part, and that there are ties dangling from 
both the black and the orange at the wrist. To me, all this suggests that 
the black is a band of cloth (probably velvet) applied to the orange, before 
the sleeve was sewn up. The position of the ties makes me think it's not a 
turned back cuff, as well as the fact that there's no indication of any 
space between the black part and the orange; I don't think it would lay that 
close against the orange unless it were sewn to it.

I'm kind of taking into account the sleeve of the boy, as well--since you 
see a puff of off-white shirt material at the elbow, I think it's safe to 
assume that the burgundy bicep puffs and cuff effect are applied to the 
outer sleeve, rather than an undersleeve showing through. (Although that 
doesn't rule out a turn-back, on him.) So that sets a sort of a precedent 
for these specific people, although I suppose that's only mildly helpful.

Just my take, though! =}

-E House 

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] thoughts on a sleeve
Date: Sun, 28 Nov 2004 04:13:02 -0600
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-----Original Message-----
The black part seems to be puffier than the orange, so I wouldn't think that
the black is a separate sleeve under the orange, false or otherwise.>

I agree.

<If you look closely, you can see the seam along the side of her arm on the
orange
part continues into the black part,>

Is that a seam or part of the check pattern? I think that if it were a seam
that the ties would be there.


<and that there are ties dangling from
both the black and the orange at the wrist.>

I hadn't noticed the ties on the orange.

< To me, all this suggests that
the black is a band of cloth (probably velvet) applied to the orange, before
the sleeve was sewn up. The position of the ties makes me think it's not a
turned back cuff, as well as the fact that there's no indication of any
space between the black part and the orange; I don't think it would lay that
close against the orange unless it were sewn to it.

I'm kind of taking into account the sleeve of the boy, as well--since you
see a puff of off-white shirt material at the elbow, I think it's safe to
assume that the burgundy bicep puffs and cuff effect are applied to the
outer sleeve, rather than an undersleeve showing through. (Although that
doesn't rule out a turn-back, on him.) So that sets a sort of a precedent
for these specific people, although I suppose that's only mildly helpful.>

I had not noticed the boy's sleeve. I would appear that it is a band applied
to the sleeve then a turned back cuff.

Just my take, though! =}

-E House

This helped. I have noticed another thing. the woman is wearing gloves with
the finger tips cut off.

Thank you,
De


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 1860's ballgown question
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At 17:02 27/11/2004 -0500, you wrote:
>Does anyone know what a good rule of thumb would be for deciding the
>circumference of hoops to go under a 1863-1864 ballgown? I have yet to
>be able to find any period references to circumference measurements, and
>the extant samples I have seen are usually either for daywear or too
>late-period to be useful. Extant ballgowns themselves seem to be far
>more generously proportioned than the 110-120 inches recommended on a
>few sites.


Don't forget that the ballgown skirt has to go over 1. the hoop, 2. at 
least one, if not more, petticoats. A hoop of about 110" can take a skirt 
of about 144" with no problems. Many original skirts of this period are 
only 4 widths of 36" wide fabric. You could try checking Janet Arnold 
"Patterns of Fashion 1860-1930", Nancy Bradfield, "Costume in Detail 
1730-1930" and Norah Waugh, "Cut of Women's Clothes 1600-1930", all of 
which use original garments for  patterns, detailed drawings or both.

I think just recently there was a thread about hoop circumferences - you 
might want to check back a few weeks.

Suzi


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In a message dated 11/27/2004 4:52:58 PM Eastern Standard Time, 
otsisto@socket.net writes:

> Is it a part of the lining of the sleeve and the end of the sleeve is 
> turned
> back exposing the lining? is it a false sleeve over a black sleeve? 

I'd go with the turned back lining thing. The bodice looks black [and turns 
grey under the sheer white of whatever that is over her shoulders....anyway it 
looks that way to me], but the red edging at the neck and down the CF could be 
a red gown underneath or a binding. I'd go with a binding of the same red as 
the sleeves and a turned back cuff with the black lining [same as bodice 
fabric] showing.

We'll never really know, but this bound neck/turn back cuff arrangement seems 
to be more logical than a black sleeved bodice with red sleeves over the 
black. If the black gown has sleeves already, what are the red sleeves attached 
to? And the alternating use of fabrics in the turned back scenario is in keeping 
with parti coloring...sorta.
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In a message dated 11/27/2004 5:24:56 PM Eastern Standard Time, 
formfunc@formfunction.org writes:

> The black part seems to be puffier than the orange, so I wouldn't think 
> that 
> the black is a separate sleeve under the orange, false or otherwise.

See, to me the black sleeve is not "puffier" or puffy at all. It looks laid 
over the red. If the cuff were turned back down it would bell a bit over her 
hand....a style not unseen in paintings. It may be black on both sides y'know. 
and added all black belled cuff.
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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I would say it is a turned back cuff. But then again, dont count on me, 
because it is not my period.
Why is she having a seam pointed outwards on the underarm sleave?

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>
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Subject: Re: [h-cost] thoughts on a sleeve
Date: Sun, 28 Nov 2004 14:50:31 -0600
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----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
> Is that a seam or part of the check pattern? I think that if it were a 
> seam
> that the ties would be there.

It looks to me like a much stronger, more 3-dimensional line than the check 
pattern lines, and I have seen several sleeves from this era with a seam at 
that point on the sleeve. (Mostly from different areas, since I don't really 
study Italian stuff that much.)

It does seem odd that the ties (which I see going back at least as far as 
her elbow) wouldn't fall on that seam line, but there's at least one 
rendition of a placket in a sleeve, and I'm going nuts right now because I 
know it's in my files but I can't find it. I think it's a little earlier 
than this, on a statue, and probably French. Ring a bell with anyone? 
Anyway, that's a posibility.

Just now, looking at all three sets of sleeves in this portrait, I noticed 
something. The brown things on the man's bicep that look like puffs aren't; 
they're some sort of fat ties attached at the top, dangling down and away, 
and ending in aiglettes. Looking closer at the boy's sleeve, it looks like 
he has the same sort of thing, in burgundy; I can see similar aiglettes at 
the ends of those as well. Now, this doesn't really have too much to do with 
the woman's sleeve, but again, it sort of sets a precedent--this time for 
decorative, dangling ties.

I don't really think that's the answer, though; based purely on what I see, 
I can't think of anything that satisfies me other than a side-of-the-arm 
seam, with an under-the-wrist placket that closes with ties. I can think of 
various reasons for her to do it this way, and wrote a longish paragraph on 
it just now, then decided to delete it since I just haven't studied Italian 
clothing enough. Long story short, I've seen sleeves with seams there, and 
sleeves with lacing or ties there, and at least one sleeve with something 
resembling a placket (in other words, an opening to be laced or buttoned 
that is not in a seam). I'm not sure why she would have chosen to combine 
all three in this sleeve, but that seems to be what I'm seeing.

However, if I were making it, I'd just rotate the sleeve seam so that it ran 
underneath the wrist.

I noticed those fingerless gloves, too... my first thought was, "I wonder if 
it has something to do with the bird?" I'd be really interested if there was 
any impact on her costume related to that.

-E House

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From: "Shane & Sheridan" <shaneandsheridan@sympatico.ca>
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Subject: [h-cost] Playing cards
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I recently found these on the net, and I thought folks here would appreciate
them:

http://www.wopc.co.uk/germany/stuttgart.html


Sheridan

~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

The wind riz and then it blew,
the rain friz and then it snew.
Spring has sprung, the grass is riz,
I wonder where the flowers is.
Spring has sprung, fall has fell,
winter's here and it's cold as
heck.


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In a message dated 11/28/2004 4:29:19 PM Eastern Standard Time, 
shaneandsheridan@sympatico.ca writes:

> I recently found these on the net, and I thought folks here would 
> appreciate
> them:
> 

What an interesting site! Thanx!

There are 3 medieval decks y'know...
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Date: Mon, 29 Nov 2004 11:14:24 +0000
From: Teddy <Teddy@mdx.ac.uk>
Subject: RE: [h-cost] Manchester shift
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> I wonder if anyone on the list has information on a woman's 
> shift housed in the Gallery of English Costume in Manchester. 
>  The shift dates to 1700 or earlier and is pictured in figure 
> 27 of the Cunnington's "The History of Underclothes".  
> Nothing much is said about the shift, so I was wondering if 
> anyone on this list has seen it in person or knows where else 
> it might be discussed.  I'm looking specifically for 
> measurements of the pieces but I'd take any information that 
> would help me make a reasonable replica of a shift of that 
> time period.  I might mention that I am *not* interested in 
> earlier or later shifts at this time -- just any extant 
> examples from circa 1670-1710.
> 
> Thank you in advance for your help.

Danielle, you're still our Manchester resident on the list - have you
seen this one?

Teddy
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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] thoughts on a sleeve
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E. House said~

> To me, all this suggests that 
> the black is a band of cloth (probably velvet) applied to the orange,
before 
> the sleeve was sewn up. The position of the ties makes me think it's
not a 
> turned back cuff, as well as the fact that there's no  indication of
any 
> space between the black part and the orange; I don't think it  would
lay that 
> close against the orange unless it were sewn to it.

That looks sensible to me too - It looks like the underdress could made
in the orange with wide bands of black following the neckline and CF
opening, set back a tad from the edge so that there's a line of orange
showing at the very edge.
 
> I'm kind of taking into account the sleeve of the boy, as  well--since
you 
> see a puff of off-white shirt material at the elbow, I think it's safe
to 
> assume that the burgundy bicep puffs and cuff

They aren't puffs, they're points, the ame as the ones on the mans
sleeve.  If you look at the lower ends of them you can make out that
they are gathetred into tips (possibly metal) on both the man's and the
boy's.

Teddy
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From: "Danielle Nunn-Weinberg" <dannw@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Mon, 29 Nov 2004 11:32:00 +0000
Subject: RE: [h-cost] Manchester shift
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It isn't on display so I can't tell you anything about it.  Sorry.

Cheers,
Danielle
----- Original Message -----
> > I wonder if anyone on the list has information on a woman's 
> > shift housed in the Gallery of English Costume in Manchester. 
> >  The shift dates to 1700 or earlier and is pictured in figure 
> > 27 of the Cunnington's "The History of Underclothes".  
> > Nothing much is said about the shift, so I was wondering if 
> > anyone on this list has seen it in person or knows where else 
> > it might be discussed.  I'm looking specifically for 
> > measurements of the pieces but I'd take any information that 
> > would help me make a reasonable replica of a shift of that 
> > time period.  I might mention that I am *not* interested in 
> > earlier or later shifts at this time -- just any extant 
> > examples from circa 1670-1710.
> > 
> > Thank you in advance for your help.
> 
> Danielle, you're still our Manchester resident on the list - have you
> seen this one?
> 
> Teddy
-- 
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Date: Mon, 29 Nov 2004 03:47:44 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1860's ballgown question
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>Does anyone know what a good rule of thumb would be for deciding the
>circumference of hoops to go under a 1863-1864 ballgown? I have yet to
>be able to find any period references to circumference measurements, and
>the extant samples I have seen are usually either for daywear or too
>late-period to be useful. Extant ballgowns themselves seem to be far
>more generously proportioned than the 110-120 inches recommended on a
>few sites.

Not exactly a historical reference, but I work with a dancing group at a 
hoop-skirt-Victorian Christmas fair.  We recommend small-ish hoops if the 
dance floor is going to be crowded.  This may not be period, but large 
hoops fill up a crowded dance floor quickly, and really get in the way.


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

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From: "Kate Pinner" <pinner@mccc.edu>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] looking for 'renaissance' fabric
Date: Mon, 29 Nov 2004 12:17:50 -0500
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"On the other hand, if you're looking for linen,  I know a store in NYC 
that does mail-order and has linen for around $3-5 a  yard.  Last I was
there 
they had a rainbow of colors, and if you want I'll  e-mail you their
phone 
number so that you can call and ask."


 
Christine,

Please post to list.

Kate
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Subject: Re: [h-cost] looking for 'renaissance' fabric
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In a message dated 11/29/2004 12:25:32 PM Eastern Standard Time,  
pinner@mccc.edu writes:

Christine,

Please post to list.

Kate





The name of the store is Ebad Fabrics.  They're in New  York City, at 550 8th 
Avenue.  The phone number is 212-869-7826.  It  was still there in August, 
which was the last time I went shopping in NYC for  fabric.
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Date: Tue, 30 Nov 2004 09:30:43 +0000
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: [h-cost] thoughts on a sleeve
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> That looks sensible to me too - It looks like the underdress could
made
> in the orange with wide bands of black following the neckline and CF
> opening, set back a tad from the edge so that there's a line of orange
> showing at the very edge.

Havign had a nother look, i was mistaking the white thing over the
shoulders (that turns grey as it passes over the black of the bodice)
for the bodice of a sleeveless overgown and the black bodice of the gown
(visible between the white/grey shawl-thing at the centre front) for the
bodice of an undergown.

So I should change my description of the womans garments to a black gown
with orange guards around the neckline and centre-front of the bodice
with orange sleeves guarded at the wrist with black (possibly a black
turn-back cuff)

Teddy


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Subject: Re: [h-cost] thoughts on a sleeve
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Would all this be over a grey (or dark lavendar, depending on your monitor) 
undergarment? Or another gown?
Kate

>
>
> Havign had a nother look, i was mistaking the white thing over the
> shoulders (that turns grey as it passes over the black of the bodice)
> for the bodice of a sleeveless overgown and the black bodice of the gown
> (visible between the white/grey shawl-thing at the centre front) for the
> bodice of an undergown.
>
> So I should change my description of the womans garments to a black gown
> with orange guards around the neckline and centre-front of the bodice
> with orange sleeves guarded at the wrist with black (possibly a black
> turn-back cuff)
>
> Teddy


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Subject: Re: [h-cost] thoughts on a sleeve
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In a message dated 11/30/2004 9:13:43 AM Eastern Standard Time, 
pinner@mccc.edu writes:

> So I should change my description of the womans garments to a black gown
> >with orange guards around the neckline and centre-front of the bodice
> >with orange sleeves guarded at the wrist with black (possibly a black
> >turn-back cuff)
> 

Wait....didn't I say that?  ;-)
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] thoughts on a sleeve
Date: Tue, 30 Nov 2004 12:18:29 -0600
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The gray area of the dress is a "shawl" there is an Italian garment word for
it. If you note, near the necklace you will see the line indicating the rest
of the "shawl" that is not covering the black gown.
Basically I have some material similar to the sleeve material. I have 15 yds
of it. So I will make an under gown of the red with band of black on the end
of the sleeve and make a black overdress with goldish ties.
Thank you for the help.
I find several analyzing a picture gets me more ideas and people point out
things that I missed and I find more things.
Again, Thank you.

De

-----Original Message-----
Would all this be over a grey (or dark lavendar, depending on your monitor)
undergarment? Or another gown?
Kate



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From: "Kate Pinner" <pinner@mccc.edu>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] thoughts on a sleeve
Date: Tue, 30 Nov 2004 13:18:32 -0500
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What I asked was -- Would all this be over a grey (or dark lavender,
depending on your monitor) 
undergarment? Or another gown?

Kate

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of AlbertCat@aol.com
Sent: Tuesday, November 30, 2004 12:52 PM
To: h-costume@indra.com
Subject: Re: [h-cost] thoughts on a sleeve

In a message dated 11/30/2004 9:13:43 AM Eastern Standard Time, 
pinner@mccc.edu writes:

> So I should change my description of the womans garments to a black
gown
> >with orange guards around the neckline and centre-front of the bodice
> >with orange sleeves guarded at the wrist with black (possibly a black
> >turn-back cuff)
> 

Wait....didn't I say that?  ;-)
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Subject: Re: [h-cost] thoughts on a sleeve
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Not knowing much about Italian layers, I am confounded by the way the main 
body of this outfit goes together--I'll be interested to see what you do 
with it! I hope you'll keep us posted.

-E House 

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From: "Kate Pinner" <pinner@mccc.edu>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] thoughts on a sleeve
Date: Tue, 30 Nov 2004 14:13:38 -0500
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I see the 'shawl'.  I'm asking about the small horizontal band that
appears to me to be above the bodice (it spans the front opening) and
almost totally disappears behind the shawl. On my monitor it appears as
grey or dark grey-lavender. I would assume it is a shift, or other
undergarment.  Seems to me we had a discussion of colored
shifts/chemises a while back

Kate

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of otsisto
Sent: Tuesday, November 30, 2004 1:18 PM
To: Historical Costume
Subject: RE: [h-cost] thoughts on a sleeve

The gray area of the dress is a "shawl" there is an Italian garment word
for
it. If you note, near the necklace you will see the line indicating the
rest
of the "shawl" that is not covering the black gown.
Basically I have some material similar to the sleeve material. I have 15
yds
of it. So I will make an under gown of the red with band of black on the
end
of the sleeve and make a black overdress with goldish ties.
Thank you for the help.
I find several analyzing a picture gets me more ideas and people point
out
things that I missed and I find more things.
Again, Thank you.

De

-----Original Message-----
Would all this be over a grey (or dark lavendar, depending on your
monitor)
undergarment? Or another gown?
Kate



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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] thoughts on a sleeve
Date: Tue, 30 Nov 2004 17:25:09 -0600
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Status: RO

The Camicia/Chemise looks to be smocked in red. It would have been made of
white linen, usually of handkerchief linen weight. underneath the camicia
was probably a breast wrapping and not a corset or the layers helped in
achieving the form. From what I understand no one knows for sure about what,
if anything was worn under the camicia. Over the camicia (depending on
region) is a gown that can either open in the front, back sides, back or
sides. The red I would be lacing the side so that I can lace them on my own.
Sleeves would be attached to this gown. The gamurra(?&sp?)overdress which I
kind of think as a glorified tabard goes over the red gown.

Hope this helped,
De

-----Original Message-----
I see the 'shawl'.  I'm asking about the small horizontal band that
appears to me to be above the bodice (it spans the front opening) and
almost totally disappears behind the shawl. On my monitor it appears as
grey or dark grey-lavender. I would assume it is a shift, or other
undergarment.  Seems to me we had a discussion of colored
shifts/chemises a while back

Kate

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of otsisto
Sent: Tuesday, November 30, 2004 1:18 PM
To: Historical Costume
Subject: RE: [h-cost] thoughts on a sleeve

The gray area of the dress is a "shawl" there is an Italian garment word
for
it. If you note, near the necklace you will see the line indicating the
rest
of the "shawl" that is not covering the black gown.
Basically I have some material similar to the sleeve material. I have 15
yds
of it. So I will make an under gown of the red with band of black on the
end
of the sleeve and make a black overdress with goldish ties.
Thank you for the help.
I find several analyzing a picture gets me more ideas and people point
out
things that I missed and I find more things.
Again, Thank you.

De

-----Original Message-----
Would all this be over a grey (or dark lavendar, depending on your
monitor)
undergarment? Or another gown?
Kate



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